Date: Sun, 25 Aug 1996 21:37:40 +0100 To: aesthetics@indiana.edu From: Richard Woodfield Subject: Aesthetics: Film Aesthetics I am looking for another reviewer to liven up the pages of the BSA Newsletter. This time I'm seeking someone who teaches film studies, preferably not a philosopher, who can write a clear and informed review of Noel Carroll's "Theorizing the Moving Image", recently published by Cambridge University Press. This is quite a substantial volume and the reviewer will have 1,000 words to pick out its strengths and weaknesses. Once again, it might be an idea to make this available on Aesthetics on Line because not everyone is lucky enough to be a member of the BSA and get a snail-mail Newsletter! On how to join BSA see the ASA website. On the strength of my experience with the Kopelson volume, I won't reply to each offer but will simply send out another message to say when the book has been closed. I will then contact the lucky person and then pop the book in the post on a day when we don't have a postal strike in the UK. Richard Woodfield (Secretary of the British Society of Aesthetics) __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 30 May 1996 11:58:00 +1200 From: Denis Dutton Subject: Aesthetics: Newest Philosophy and Literature To: PHIL-LIT@TAMVM1.TAMU.EDU, aesthetics@indiana.edu Herewith the contents for the new issue of Philosophy and Literature, certainly the biggest--and I think most exciting--number we've ever published. Following the contents, I attach Hopkins's special subscription offer, which is only available for the next couple of weeks from this internet message. Once our new advertisement appears in the New York Review of Books, this offer will expire. As the forthcoming ad offers no premiums, people who've been considering subscribing should arguably do so now. Yes, this is an advertisement. Denis Dutton, Editor **************************************************** PHILOSOPHY AND LITERATURE Volume 20 April 1996 Number 1 Articles SECRECY AND AUTONOMYIN LEWIS CARROLL by Susan Sherer INTERPRETING CONTEXTUALITIES by Stephen Davies KANT'S SADISM by Ermanno Bencivenga CRAFTING MARKS INTO MEANINGS by Joseph S. Catalano LERMONTOV AND THE OMNISCIENCE OF NARRATORS by David A. Goldfarb ooooo Proceedings of the Association of Literary Scholars and Critics INTRODUCTION by Patrick Henry AUTHOR, AUTHOR by Bernard Knox BARBAROUS ON EITHER SIDE: THE NEW YORK BLUES OF Mr Sammler's Planet by Stanley Crouch I. INTELLECTUAL CRAFTSMANSHIP: HOW TO READ A BOOK A RECIPROCATING ENGINE--LIKE PROUST by Roger Shattuck ALCAICS IN EXILE: W. H. AUDEN'S "IN MEMORY OF SIGMUND FREUD" by Rosanna Warren READING AND DEPTH OF FIELD by Sven Birkerts READING STYLE IN DICKENS by Robert Alter II. DANTE AND THE WESTERN CANON THE UNCANONICAL DANTE: THE DIVINE COMEDY AND ISLAMIC PHILOSOPHY. by Paul A. Cantor DANTE'S POETICS OF THE SACRED WORD by Steven Botterill III. POETS AND THEIR CRITICS OWL by John Hollander ON JOHN HOLLANDER'S "OWL" by Eleanor Cook READING AS POETS READ: FOLLOWING MARK STRAND by Charles Berger SUMMARY OF THE SPOKEN RESPONSES BY THE POETS TO THEIR CRITICS by John Hollander IV. SUMMING UP A LITERARY COMMON GROUND by Lee Rust Brown TRAINS OF THOUGHT AND AFTERTHOUGHTS by John Ellis ooooo Critical Discussions BENJAMIN REDUX by Gerhard Richter A MYTH OF READING by Alfred Louch DARWIN MEETS LITERARY THEORY by Ellen Dissanayake Reviews Eric Spencer, Walter E. Broman, Vicki J. Sapp, Leon Surette, David Gorman, Sandor Goodhart, Richard J. Utz, Edward E. Foster, Harold D. Baker, Eva L. Corredor, James Hatley, James Seaton, A. Serge Kappler, William Bywater, Bruce Krajewski, Deborah Knight, Thomas Reinert, Andrea A. Lunsford, Patricia B. Phillippy, Patrick Henry Bookmarks HEAVY TRAFFIC by Denis Dutton __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 29 May 96 03:58:12 UT From: "Mike " To: aesthetics@indiana.edu Subject: Aesthetics: Getting Started Hello to anyone out there with a spare moment. I am aspiring to become an aesthetician and am looking for advice/information. I live in a suburb of Los Angeles and I am looking for a reputable place for my education. My particular interest lyes in the area of facial glycolic treatments. Thanks to anyone who can offer any suggestions. Brenda my email address is mrozman@msn.com __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Tue, 04 Jun 1996 10:25:15 -0500 To: aesthetics@indiana.edu From: Christian Allegre (by way of dom lopes ) Subject: Aesthetics: AE Journal of the Canadian Society for Aesthetics AE: Journal of the Canadian Society for Aesthetics http://tornade.ere.montreal.ca:80/~guedon/AE/ae.html Full text (mixture of French and English); first issue now available. Message from one of the co-editors: From: Roger Seamon, Co-editor. As co-editor, I am honoured and delighted to introduce the first issue of AE : The Canadian Journal of Aesthetics / Revue canadienne d'esthetique, the publication of the Canadian Society for Aesthetics / Societe canadienne d'esthetique. The electronic format of AE anticipates a journal with recorded music, films, and images and is flexible enough at present to meet the publishing demands of a rapidly changing and exciting field of inquiry. The most striking development in recent thinking about art is the shift from aesthetics as implicitly or explicitly a defense or celebration of the arts to a critical perspective. The historicization of the concept of art, the notion of the anti-aesthetic, Paul de Man's "aesthetic ideology," and Terry Eagleton's The Ideology of the Aesthetic mark a decisive shift. This critical perspective of "theory" has generated new ideas about the historical embeddedness of the arts and poses a lively challenge to tacit boosterism. The statements of work in progress by three aestheticians and the designer of the sculpture garden of the Canadian Center for Architecture that constitute the first issue of AE afford us some idea of the diverse sorts of discourse that we invite. While we may now mostly be Wittgensteinians or Eagletonians in our rejection of the quest for the essential nature of art, it seems perfectly plausible to speak of the aesthetic of jazz, rock, or rap. The virtue in this, in my view, is that it gives us a maker's perspective on artistic practice, a view that dominated thought about art from antiquity to the eighteenth century. Melvin Charney offers an insight into the making of his art, and one source of the power of Arthur Danto's theories is that they are in very close touch with specific artistic practices, whatever one thinks about the larger claims he makes. At the other end of the spectrum, Gregory Currie's research into the relation between imagination and art takes its place in the tradition which seeks to understand art from a scientific perspective. While such work has as yet not become part of the tradition, the current advances in the cognitive sciences will not be ignored by aestheticians. Between the maker's and scientist's perspectives is the mainstream of philosophical speculation on art and the aesthetic, here represented by Currie's interest in narrative and Joseph Margolis's ideas about aesthetic pragmatism. The methodological diversity of these brief reports, the opening of new areas mentioned above, and the advent of a critical perspective on the concept of art give some indication of what today takes place under the banner of aesthetics. My anxieties about assessment of articles for publication stem not from questions about what is and is not within the bounds of the aesthetic, or whether art is a merely historical notion, but from my experience as a reader for two philosophical journals. AE is, for better and worse, a journal about a subject whose history is part of its present, which means that contributors should know the intellectual traditions and recent contributions that are related to their projects. This self-consciousness about where one's work fits strikes me as a constitutive convention of our enterprise. I should perhaps say that interesting and plausible claims, sound arguments and evidence are the primary desiderata. The diphthong AE of our title should be taken quite seriously, for we are not, at least for now, accepting how-to-do-it essays about make-up and color coordination, i.e., esthetics in the lifestyle sense of the term. We embrace multitudes, but not that--at least not yet. However, the subject matter of aesthetics has now gone beyond what Francis Sparshott called and wrote the summa of, the theory of the [fine] arts. The return of nature via the "environment" is the most striking instance of this development, the concern with popular culture and the media another. Happily, these wider ethical concerns of intentionality are also suggested by the Old English meaning of "f" as the way or direction of moral truth, from the Gothic and Sanskrit ewa for course. The word "f" was used to translate the Hebrew word "Torah" in its original sense as direction or law. In our title AE, the sentimental archaism of Baumgarten's "fsthetic" as the realm of the senses thus meets the moral direction of the senses as well as the attractive directions they take. This means that we shall construe "aesthetics" broadly. And as Canadians who say "eh" instead of "huh," we have a special affection for the diphthong--Canadian eh. Canadian AE! Roger Seamon Co-editor __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Tue, 04 Jun 1996 10:24:55 -0500 To: aesthetics@indiana.edu From: Nat Friedman (by way of dom lopes ) Subject: Aesthetics: Art & Mathematics Conference Art and Mathematics Conference University at Albany June 22-26, 1996 Professor Nathaniel Friedman, Conference Organizer AM96 will consist of three days for slide-video talks (June 22, 23, 24) and two days for teacher workshops (June 25, 26). The schedule is the same as AM95, which provides more time for people to share ideas. There will be group-interest meetings covering topics such as sculpture, two-dimensional art, computer graphics, polyhedra structures, and interdisciplinary curricula. The teacher workshops will be concerned with classroom projects relating art and mathematics. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 5 Jun 1996 13:40:22 -0400 To: aesthetics@indiana.edu From: vyhvyh@cam.org (Victor Yelverton Haines) Subject: Aesthetics: Æ AE Journal for the Canadian Society for Aesthetics Some old platforms do not read the eight-bit character æ or ae, which may then come out as some other letter. The last paragraphs of the message from the co-editor Roger Seamon should read Happily these wider ethical concerns of intentionality are also suggested by the Old English meaning of "ae" as the way or direction of moral truth, from the Gothic and Sanskrit ewa for course. The word "ae" was used to translate the Hebrew word "Torah" in its original sense as direction or law. In our title AE, the sentimental archaism of Baumgarten's "aesthetic" as the realm of the senses thus meets the moral direction of the senses as well as the attractive directions they take. This means that we shall construe "aesthetics" broadly. And as Canadians who say "eh" instead of "huh," we have a special affection for the diphthong--Canadian eh. Canadian AE! Victor Yelverton Haines Montreal __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 5 Jun 1996 17:29:40 -0500 To: aesthetics@indiana.edu Subject: Re: Aesthetics: Art & Physics Is this a hoax? tq ------------------------------------ T. R. Quigley New School for Social Research School of Visual Arts squigle@panix.com ------------------------------------------------------- >Has anyone read this incredible book, called Art & Physics: Parallel >Visions in Space, Time and Light? I am making my way through it and it >is truly a wonderful exploration of the parallels that exist between two >seemingly diverse disciplines. I am letting everyone know how good it >is and looking for other interpretations. Also, does anyone know of any >other books of this nature that establish ties between art and science >or art and mathematics. Would appreciate any responses! Oh, the author >of the book is Leonard Shlain. Written in 1991 and published by Quill. > >Quanda Hood >Bachelor's of Art History & Aesthetics >Richard Stockton College of New Jersey __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: sbarten@purvid.purchase.edu (Sybil Barten) Subject: Aesthetics: Adjunct needed To: aesthetics@indiana.edu Date: Wed, 5 Jun 1996 17:16:33 -0400 (EDT) Is anyone in the NYC area interested in teaching a course in Language, Symbolization and Experience this Fall? The description reads as follows: "This course examines the psychology of language and other forms of symbol- izing, with emphasis on the relations between symbolic forms and the thoughts and experiences articulated. We start with the origins of the symbol and the beginning of naming in young children, and move on to a consideration of the relation between language and thought in literal and figurative language, and the organization of thought and experience in narrative. The second major section of the course is devoted to nonverbal symbolization, in children and adults. Here, an important question again is how the medium (gestural, visual, dream imagery) functions to organize and express human experience." Please respond to me directly, rather than through the list if you are interested. Sybil Barten -- Sybil Barten, Ph.D. Psychology Department Purchase College, SUNY Purchase, NY 10577 e-mail: sbarten@purvid.purchase.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: ziba@buffnet1.buffnet.net To: aesthetics@indiana.edu Date: Thu, 6 Jun 1996 16:43:59 +0000 Subject: Aesthetics: Kant on communicability I'm doing some work on the idea of the sensus communis in kant's third critique and have gotten hung up on his use of the term communicability in paragraphs 21 and 40. What exactly would be the communicability of a feeling without the mediation of a concept? Can anyone recommend some secondary literature that deals with this notion in kant--or the relationship between Urteilskraft and Mitteilbarkeit? __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 5 Jun 1996 18:40:20 -0400 To: aesthetics@indiana.edu From: "Zenon M. Feszczak" Subject: Re: Aesthetics: Art & Physics >Has anyone read this incredible book, called Art & Physics: Parallel >Visions in Space, Time and Light? I am making my way through it and it >is truly a wonderful exploration of the parallels that exist between two >seemingly diverse disciplines. I am letting everyone know how good it >is and looking for other interpretations. Also, does anyone know of any >other books of this nature that establish ties between art and science >or art and mathematics. Would appreciate any responses! Oh, the author >of the book is Leonard Shlain. Written in 1991 and published by Quill. > >Quanda Hood >Bachelor's of Art History & Aesthetics >Richard Stockton College of New Jersey I was also quite taken by some of the insights in this book. I'm surprised that very few seem to know of its existence. At any rate, other titles by the same author are also quite fascinating. Check out a book "Music and the Mind". Zenon M. Feszczak Philosopher ex nihilo __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ ################################################ Date: Wed, 05 Jun 1996 13:35:30 -0500 From: Jim Cummings To: aesthetics@indiana.edu Subject: Aesthetics: Art & Physics Has anyone read this incredible book, called Art & Physics: Parallel Visions in Space, Time and Light? I am making my way through it and it is truly a wonderful exploration of the parallels that exist between two seemingly diverse disciplines. I am letting everyone know how good it is and looking for other interpretations. Also, does anyone know of any other books of this nature that establish ties between art and science or art and mathematics. Would appreciate any responses! Oh, the author of the book is Leonard Shlain. Written in 1991 and published by Quill. Quanda Hood Bachelor's of Art History & Aesthetics Richard Stockton College of New Jersey __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 5 Jun 1996 16:09:44 -0700 (PDT) From: "R. Moore" To: Jim Cummings Cc: aesthetics@indiana.edu Subject: Re: Aesthetics: Art & Physics Mr. Cummings: You might want to look at THE VISUAL MIND: ART AND MATHEMATICS, ed. by Michele Emmer (MIT Press, 1993, a very impressive (and visually stunning) book. Happy hunting. Ron Moore On Wed, 5 Jun 1996, Jim Cummings wrote: > Has anyone read this incredible book, called Art & Physics: Parallel > Visions in Space, Time and Light? I am making my way through it and it > is truly a wonderful exploration of the parallels that exist between two > seemingly diverse disciplines. I am letting everyone know how good it > is and looking for other interpretations. Also, does anyone know of any > other books of this nature that establish ties between art and science > or art and mathematics. Would appreciate any responses! Oh, the author > of the book is Leonard Shlain. Written in 1991 and published by Quill. > > Quanda Hood > Bachelor's of Art History & Aesthetics > Richard Stockton College of New Jersey __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 05 Jun 1996 19:37:36 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: Journal of the CSA--corrected url Hello all, The recently posted announcement of the Journal of the Canadian Society for Aesthetics contained a faulty url. The correct web address is: http://tornade.ere.umontreal.ca:80/~guedon/AE/ae.html Of course a link to this site will soon be added from Aesthetics On-Line. You'll find it under "Aesthetics Web Sites" on the "Aesthetics on the Net" page. dom lopes __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 5 Jun 1996 17:01:27 -0700 (PDT) From: "Tristan D. Saldana" To: Jim Cummings cc: aesthetics@indiana.edu Subject: Re: Aesthetics: Art & Physics On Wed, 5 Jun 1996, Jim Cummings wrote: > Has anyone read this incredible book, called Art & Physics: Parallel > Visions in Space, Time and Light? I am making my way through it and it > is truly a wonderful exploration of the parallels that exist between two > seemingly diverse disciplines. I am letting everyone know how good it > is and looking for other interpretations. Also, does anyone know of any > other books of this nature that establish ties between art and science > or art and mathematics. Would appreciate any responses! Oh, the author > of the book is Leonard Shlain. Written in 1991 and published by Quill. > > Quanda Hood > Bachelor's of Art History & Aesthetics > Richard Stockton College of New Jersey Hi Jim, I loved Shlain's book as well. I find myself returning to it quite a bit. Not only is the subject matter compelling but it's a very enjoyable read too. Shlain is dazzlingly fluent in the language of metaphor. I think much of his success in talking about art and physics as "separate" subjects in the same breath is that he understands that they speak their own languages. Have a look at the new _Faber Book of Science_. It is a book of essays on a range of subjects from quantum mechanics to the nature of tides. The essays are so well written that one can see beauty (i.e.,form) in the universe and in nature. Let me know what you think. Tristan D. Saldana __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 6 Jun 1996 21:47:53 +0100 From: "woodfra@innotts.co.uk" To: aesthetics@indiana.edu Subject: Aesthetics: Gombrich Manchester University Press has just published the first book on Gombrich's work: Richard Woodfield (ed), "Gombrich on Art and Psychology" [May 1996]. Contributors include: Richard Woodfield, surveying Gombrich's work; Klaus Lepsky on Gombrich and Karl Buhler; Menahem Brinker on the philosophical implications of "Art and Illusion" and "The Image and the Eye"; Ian Gordon on Gombrich and the Psychology of Perception; David Topper on Gombrich on Perspective; Edmond Wright offering a philosophical defence of A&I; Ben Tilghman on a conceptual dimension of art history; Chang Hong Liu and John M. Kennedy on form and its symbolic meaning; Gombrich on Four Theories of Artistic Expression; Goran Sorbom on optical refinements in Greek Art; Jan Baptiste Bedaus `From normal to supranormal. Observations on realism and idealism from a biological perspective; Graham Birtwistle on Gombrich on primitivism; Joaquin Lorda on the sense of order and classical architecture; Jan Bakos on Gombrich's connection with the work of the Vienna school. There are also two responses from Gombrich himself along with his own important article. Definitely a must for the library! __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 7 Jun 1996 09:57:27 -0500 (CDT) From: James R Hamilton To: ziba@buffnet1.buffnet.net cc: aesthetics@indiana.edu Subject: Re: Aesthetics: Kant on communicability I think the best thing I know of on this topic is the new work, soon coming out I believe, by Tim Gould. If he is on this list he could, of course, let you know about that. James R. Hamilton, Head Department of Philosophy(913) 532-6758 Kansas State Universityhamilton@ksu.ksu.edu Manhattan, KS 66506 __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: "Kelli" To: aesthetics@indiana.edu Date: Mon, 10 Jun 1996 07:50:05 EST Subject: Re: Aesthetics: Kant on communicability Ziba, I don't know if I'm right on this, but this is the way I see it: The idea of a sensus communis/Gemeinsinn derives from the moral sense theory of Hutcheson and Shaftesbury. According to this theory, to which Kant at one time briefly subscribed (cf. his Observations on the Beautiful and Sublime, 1764, Ak 2:205-56), we share a common moral ground and reach ethical consensus because each of us is endowed with a "moral sense", sort of like the emotional version of a Cartesian innate idea. The sensus communis is the precondition of knowledge and thus the precondition of communicability (Mitteilbarkeit). As regards Beauty and as regards The Good, we are in the same epistemic situation, and in that way, this ethical theory has an aesthetic application. When Kant returns to this theory in #20 and #40 of the third Critique, he is not sure anymore what to make of it. On the one hand, it seems to him that we need to have some universal sense of this sort in order to allow for the possibility of talking coherently about Beauty and understanding each other (#21), but then again, it is not clear where and how we can identify such a sense -- it might just be a speculative construct. Accordingly, Kant allows for the possibility of this sense to be merely of a "regulative" character, i.e., to be merely a heuristic principle (#22). Literature (I don't know of any study of K's sensus communis, but here are some things that might point you in the right direction): Dieter Henrich, "Hutcheson und Kant," _Kant-Studien_ 49 (1957-8), 49-69 Juergen Sprute, "Der Begriff des Moral Sense bei Shaftesbury und Hutcheson," _Kant-Studien_ 71 (1980), 221-237 Jane Kneller, "Kant's Concept of Beauty," _History of Philosophy Quarterly_ 3 (1986), 311-324 Paul Crowther, "The Claims of Perfection: A Revisionary Defense of Kant's Theory of Dependent Beauty," _International Philosophical Quarterly_ 26 (1986), 61-74 A. Murray MacBeath, "Kant on Moral Feeling," _Kant-Studien_ 64 (1973), 283-314 Good luck! Dr. Martin Schonfeld, Dept. of Phil, USF Tampa __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: LBusbea@aol.com Date: Tue, 11 Jun 1996 18:36:01 -0400 To: aesthetics@indiana.edu Subject: Aesthetics: New "subscriber" My name is Larry, and I am currently working with critical/psychoanalytic approaches to German theories of empathy- Robert Vischer (particularly), Worringer, et al. As I am just beginning, I would appreaciate any bibliographic info, such as good secondary sources. these would be especially helpful if they are drawn from philosophical journals and compilations, as I am primarlily an Art Historian, and unfamiliar with these titles. I would also like to establish dialogue with any one working in a similar field. Thank You.... __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 13 Jun 1996 09:27:07 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: Re: Court ruling today >The federal court in Philadelphia today, by a 3-0 margin, issued an >injunction against the Communication Decency Act, the measure >which would have held online service providers liable for "indecent" >material to which they provided access (even if they didn't put the stuff >on the internet and didn't know it was there). > >The decision, apparently 179 pages long, is a strong affirmation of the >First Amendment in the context of the Internet. There will be appeal to the >Supreme Court, of course. > >The ARL web site can give you the whole text of the decision--but >beware, it's a big file. http://arl.cni.org/index.html > __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sat, 15 Jun 1996 22:33:25 MET_DST From: Erich Mistrik To: aesthetics@indiana.edu Subject: Aesthetics: Bense + Danto Can anybody help me? I am preparing a short dictionary of aesthetics for secondary school students, that will form a part of The Dictionary of the Humanities for these students. Among other items there will be also personal headings, of course. They will include great aestheticians of the past and of contemporary philosophical aesthetics. Here is my problem: I am not able to find out A. a year ARTHUR C. DANTO was born B. if MAX BENSE is still alive (I know this question is not too polite, I am really sorry) Can anybody help me? Thanks to everybody. Erich Mistrik, Comenius University, Slovakia __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sat, 15 Jun 1996 22:55:30 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: aesthetics@indiana.edu Subject: Re: Aesthetics: Bense + Danto Erich Mistrik wrote: > Here is my problem: I am not able to find out > A. a year ARTHUR C. DANTO was born > B. if MAX BENSE is still alive (I know this question is not too > polite, I am really sorry) > > Can anybody help me? Erich, I can answer half your request: Danto was born in 1924. I wish you well with the dictionary of aesthetics project - a great service to Slovakia no doubt. -- Jonathan Walker Queen's University Belfast mailto:kollos@cavehill.dnet.co.uk http://www.music.qub.ac.uk/~walker/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: LBusbea@aol.com Date: Fri, 14 Jun 1996 23:06:04 -0400 To: aesthetics@indiana.edu Subject: Aesthetics: query I would greatly appreciate it if anyone could send me any bib. information about the arabesque, or the serpentine, or winding line (visual arts, decorative, ornamental etc.). I am interested in the origins of the term, and early commentary. Thanks vey much, Lawrence Busbea. Lbusbea@aol.com __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: "M.L. KIERAN" To: aesthetics@indiana.edu Date: Mon, 17 Jun 1996 15:53:01 GMT Subject: Aesthetics: media ethics conference 2nd Conference Announcement Media Ethics: Privacy, Public Interest and Censorship 20-21 September 1996 at the University of Leeds The Centre for Business and Professional Ethics is holding a conference at the University of Leeds to bring philosophers and media professionals together to discuss critically: - Impartiality and problems of media bias - Rights of privacy and the public interest - Motives and journalistic integrity - Media sensationalism and harm - Censorship, regulation and freedom of expression in a liberal society The conference is aimed at people interested in applied ethics, social affairs, media and communication studies and those practically involved in media policy, journalism or working with the media. Conference Programme: Friday 20 September 10.00 Registration and Coffee 11.00 Chair Jim Parry (Leeds) Nigel Warburton (O.U.) Ethical Photojournalism David Archard (St. Andrews) Privacy, public interest and a prurient public 12.30 Lunch 14.00 Chair Piers Benn (Leeds) Mary Warnock The price of cynicism Mary Midgley The problem of humbug 15.30 Tea 16. 00 Chair: Judith Stamper (BBC) Matthew Kieran (Leeds) Ideology and news reporting Greg Philo (Glasgow) Does the media matter? Conference Dinner 21.00 Keynote address: Lord Wakeham Saturday 21 September 9.30 Chair: G. Williams (Campaign for Press and Broadcasting Freedom) Gordon Graham (Aberdeen) Sex and violence in fact and fiction Bryan Appleyard (Independent) Whose harming who? sex and censorship Coffee 11.30 Tony Hall (Man. Dir. BBC News and Current Affairs): Broadcasting impartiality and politics Lunch 14.00 Chair: Mike Jempson (PressWise) David Marsh (Barnardo's) News bias and media responsibility Judith Stamper (BBC) Holding the Mirror: Television news Tea 16.00 Chair Stephen Whittle (Dir. Broadcasting Standards Council) Martin Bell (BBC) The journalist as participant Peter Preston (Guardian Media Group) Why legislation will make things worse Conference Director: Matthew Kieran, Dept. of Philosophy, Leeds University LS2 9JT (Email: phlmlk@leeds.ac.uk) Conference fees are stlg75 incl. lunches and light refreshments plus stlg20 for conference dinner. Students fee is stlg10 for those with a union card or supervisor's signature. B & B accommodation is available at stlg22 per night. Registration forms now available from: Conference Secretary (media ethics), School of Continuing Education, Springfield Mount, University of Leeds, Leeds, LS2 9NG Tel: (0113) 233 3240 Fax (0113) 233 3240 Please pass this information on to any colleagues or friends who might be interested. Many thanks, Matthew Kieran. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Tue, 18 Jun 1996 14:15:10 -0400 To: aesthetics@indiana.edu From: rice@bucknell.edu (James Rice) Subject: Aesthetics: Rooke Chair at Bucknell University The Rooke Chair in Engineering, Design, and Aesthetics The Rooke Chair in Engineering, Design and Aesthetics will integrate the essential dimensions of engineering, design, and aesthetics for engineering and non-engineering students alike at Bucknell. With a focus on fostering creativity in design, the Rooke Chair will examine the past and current role of aesthetics in engineering and the nature of the creative process. In filling the Chair, the University seeks candidates with established records as teacher-scholars (Ph.D. required) at the associate professor level in one of the engineering disciplines offered at Bucknell - chemical, civil, computer science, electrical, and mechanical - who have demonstrated an interest in creativity and the aesthetic dimensions of design. The successful candidate will also have demonstrated a commitment to quality undergraduate engineering education and a capacity for developing Bucknell's special potential for interdisciplinary teaching and scholarship at the interstices of engineering, fine arts, the sciences, and the humanities. It is anticipated that the position will be filled prior to the beginning of the Fall 1997 semester. Applicants should send a detailed resume, the names of three references, and a statement of research and teaching interests to the following address: James P. Rice Rooke Chair Search Committee Bucknell University Lewisburg, PA 17837 Bucknell encourages applications from women and members of minority groups. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 20 Jun 1996 12:34:11 +1200 From: Denis Dutton Subject: Aesthetics: Genuine fakes To: aesthetics@indiana.edu June 19, 1996, New York Times Art Fraud's New Trick: Falsify Archives By ALAN RIDING LONDON -- The public, if not the art world, has always harbored a secret admiration for the true masters of art forgery, men like Han van Meegeren, who hoodwinked experts in the 1930s with his fake Vermeers, and more recently Eric Hebborn, whose drawings attributed to others passed through Sotheby's and Christie's on their way to American and European museums. But most art fraud is far less glamorous. Rather than aiming for great coups, today's art forgers shy away from reproducing the works of Old Masters because all too many art historians have the necessary expertise to identify fakes. Instead, they often prefer to turn out larger quantities of works that sell for smaller sums and appeal to a less vigilant market. Now an extraordinary new scam has come to light here that illustrates the growing sophistication of art forgers. Accomplices of forgers were found to have doctored the archives at the Tate Gallery so that when consulted by a prospective buyer of a painting or sculpture, the record shows that the fake is authentic. "We've often seen fake documentation, but this is the first time I have come across tampering with research material by inserting documentation," said Constance Lowenthal, executive director of the New York-based International Foundation for Art Research. "It's very worrisome, particularly since we don't know the extent of it. We're a little nervous about whether this has happened elsewhere." The Tate discovered the fraud last September and called in Scotland Yard, but the case was not publicized until this month, and even now few details have been disclosed. Several people have been arrested and released on police bail pending further inquiry. There are reports that the archives at the Victoria and Albert Museum and the British Council were also tampered with in a racket that dates back some six years. "We can confirm the investigation, but we've been asked by Scotland Yard not to comment further because the investigation is still under way," said Sandy Nairne, a spokesman for the Tate, which has a library that specializes in exhibition catalogues and separate archives dedicated to 20th-century British artists. Special permission is required to enter either department. The fraud, which was exposed when a watercolor attributed to the British artist Ben Nicholson was found to have been forged after being sold for $28,000, apparently involved three stages: a work of art was forged; an accomplice altered the artist's file in the Tate or elsewhere to include the new work, and a "dealer" offered the work for sale, indicating to the potential buyer how its provenance could be checked. According to British press reports, the leader of the band, known as John, was a benefactor of the Tate and therefore had easy access to the museum's library and archives. The reports said files related to the Swiss sculptor Alberto Giacometti had also been altered to authenticate forged works. Investigators have reportedly discovered that, in some cases, forgers went so far as to print bogus catalogues and place them in museum libraries. The case has stunned the art world because, for the moment, it is impossible to know how many "authenticated" forged works of art have entered the market and how many artists' files in reputable libraries now contain false information. Further, it is not known whether this type of fraud is being carried out by an isolated gang or is a common practice. Always nervous about finding themselves handling stolen or forged works, dealers and auction houses have rushed to reassure the market of their own safeguard procedures. A spokesman for Sotheby's said the auction house had also been asked by Scotland Yard to withhold comment on this case, but he said it was the company's practice to inspect the provenance of works of art very carefully. "We have our own authentication department and our own experts and we also consult catalogues, our own archives and those of museums and galleries," he said. Ms. Lowenthal, whose research foundation is heavily involved in authenticating art, said the cost of publishing a phony catalogue with forged works in it was small compared with the profits to be reaped. "We used to ask, has it been published?" she said. "Now we have to ask, has it been published, in what, by whom and is it a trustworthy publication?" She said that forged works are often accompanied by fake documents, including photocopies using the letterhead of important galleries. She recalled the case of a Jackson Pollock that was imported into the United States from Switzerland in the early 1990s. "It came with a price tag of $7 million," she said, "and was backed by a forged letter from someone in Sotheby's contemporary art department. It was seized by customs." The full impact of the current scandal may not become apparent until Scotland Yard completes its investigation, although experts said the price being fetched for works by Nicholson, who died in 1982, and Giacometti, who died in 1966, might be immediately affected. What seems clear is that the art forgery business is flourishing. As governments have tried to clamp down on the traffic in stolen or looted antiquities, for example, the market in fake African, pre-Columbian and Asian art has boomed. Hong Kong, in particular, is said to be a major center for forging ancient Chinese porcelain, while artists in Africa and Mexico are skilled at forging, say, Benin bronzes and Olmec figures respectively. Forgers of modern works tend to focus on prolific artists whose legacy includes paintings, sculptures, drawings, engravings and lithographs. One such artist is the Spanish surrealist Salvador Dali. Experts said the value of his less well known works has been undercut in recent years by the flood of fake Dalis. Similarly, they said that works by abstract artists, such as Paul Klee, Joan Miro, Pollock and Mark Rothko, are relatively easy to forge. Another attraction of modern art is that the forger need not worry about having to find, say, a 17th-century canvas or original paint that could pass X-ray and chemical tests. To add to the credibility of their counterfeits, some forgers study an artist's career and date their fakes in periods in which the artist was seemingly less productive. "It's easier if there is no documentation covering a specific period," one expert noted. Ms. Lowenthal went further, conceding that in some cases it is impossible to authenticate a work of art because little research material is available. "There are lots of forgeries coming out of Russia," she said. "The work of Russian avant-garde artists was not well documented because the Soviet authorities frowned on them. The only way to be sure is when you can track the painting back to the artist's easel." __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 19 Jun 1996 21:51:33 -0400 To: aesthetics@indiana.edu From: Victor Grauer Subject: Re: Aesthetics: Genuine fakes At 12:34 PM 6/20/96 +1200, Denis Dutton wrote: >June 19, 1996, New York Times > >Art Fraud's New Trick: Falsify Archives > >etc.> This is a very interesting and revealing article. Authenticity has vanished from philosophy with the demise of existentialism and the rise of poststructuralism. It now seems inevitable that it will vanish from many other areas of life, especially given the tremendous level of "plasticity" possible in the age of digital overload. It is now far easier to alter a record than convincingly forge a painting. It is now possible to alter the contents of almost anything distributed in digital form, including any papers any of us might have word processed or even Email masterpieces (such as this). A dizzying but also liberating prospect opens up. If nobody can ever be really sure whether any of us actually did or wrote or painted, etc. what we apparently did or wrote or painted, etc., why then -- WE'RE FREE!!!! Victor Grauer __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: "M.L. KIERAN" To: aesthetics@indiana.edu Date: Fri, 21 Jun 1996 11:51:30 GMT Subject: Aesthetics: map reference query Dear all, Can anyone remember where the story or idea of a map maker who wants to make the most faithful map of Britain, and so ends up making a map the size of Britain, comes from? I have an idea that it may be from Lewis Carroll's Sylvie and Bruno but I really don't know and can't track it down. Any references or pointers in the right direction would be most gratefully received. Matthew Kieran. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 21 Jun 1996 14:00:22 -0500 (CDT) From: CFreeland@UH.edu (Cynthia Freeland) Subject: Aesthetics: Maps To: aesthetics@indiana.edu Isn't there a Borges story about an impossible map, also? If there isn't, there should have been. :-) Cynthia Freeland Associate Professor of Philosophy and Associate Dean for Graduate Studies and Research College of Humanities, Fine Arts, and Communication The University of Houston Houston, TX 77204-3784 (713) 743-3000 CFreeland@UH.edu http://bentley.uh.edu/Freeland/Mypage.html __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sat, 22 Jun 1996 02:48:27 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: aesthetics@indiana.edu CC: Cynthia Freeland Subject: Aesthetics: Maps Cynthia Freeland wrote: > > Isn't there a Borges story about an impossible map, also? > > If there isn't, there should have been. :-) Cynthia, it's strange how the memory works: there is indeed a reference in Borges to the Paradox of the Complete Map (tr. Extraordinary Tales, 1973). He attributes it to "Suarez Miranda, 1658"; this source may be fictitious - Borges may simply have elaborated it from the Lewis Carroll source mentioned earlier; it is certainly more stylish and less schematic. I like the ending, after the 1:1 map has finally been constructed: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Less addicted to the study of cartography, the following generations comprehended that this dilated map was useless and, not without impiety, delivered it to the inclemencies of the sun and of the winters. In the western deserts there remain piecemeal ruins of the map, inhabited by animals and beggars. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ So unless Borges was serious about Suarez Miranda, the Lewis Carroll version remains the original. -- Jonathan Walker Queen's University Belfast mailto:kollos@cavehill.dnet.co.uk http://www.music.qub.ac.uk/~walker/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 21 Jun 1996 22:55:21 -0600 (CST) From: Katya Mandoki To: Jonathan Walker Cc: aesthetics@indiana.edu, Cynthia Freeland Subject: Re: Aesthetics: Maps As Jonathan Walker wrote that Cynthia Freeland wrote, I mean to write that authorship of the quote on 1:1 map is even more complicated than a map of a map. Suarez Miranda quotes a quote of Borges' in "Magias parciales del Quijote" where he quotes Josiah Royce (who wrote two centuries and a half after Suarez) about the hypothesis of a 1:1 map of England. So unless it is a typo, Suarez quoting Borges settles it for Carroll. If the quote is misplaced it settles it for Suarez, unless he is "Suarez". Merely a matter of quotes. Katya Mandoki Universidad Autonoma Metropolitana On Sat, 22 Jun 1996, Jonathan Walker wrote: > Cynthia Freeland wrote: > > > > Isn't there a Borges story about an impossible map, also? > > > > If there isn't, there should have been. :-) > > Cynthia, it's strange how the memory works: there is indeed a reference in Borges to > the Paradox of the Complete Map (tr. Extraordinary Tales, 1973). He attributes it to > "Suarez Miranda, 1658"; this source may be fictitious - Borges may simply have > elaborated it from the Lewis Carroll source mentioned earlier; it is certainly more > stylish and less schematic. I like the ending, after the 1:1 map has finally been > constructed: > > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > Less addicted to the study of cartography, the following generations comprehended > that this dilated map was useless and, not without impiety, delivered it to the > inclemencies of the sun and of the winters. In the western deserts there remain > piecemeal ruins of the map, inhabited by animals and beggars. > > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > So unless Borges was serious about Suarez Miranda, the Lewis Carroll version > remains the original. > > -- > Jonathan Walker > Queen's University Belfast > mailto:kollos@cavehill.dnet.co.uk > http://www.music.qub.ac.uk/~walker/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 21 Jun 1996 11:44:06 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: readings I've finally gotten around to compiling, editing and formatting the discussion we had on this list during the spring about introductory readings in aesthetics. You can find it under "Aesthetics Ideas" at the Aesthetics On-Line web site. The url for the site is listed below. If your favourite book is not listed let me know. I'll add any book suggestion that includes a few lines explaining the book's virtues. dom lopes __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: 21 Jun 96 10:29:23 PDT From: Robert.Paul@directory.Reed.EDU (Robert Paul) Subject: Re: Aesthetics: map reference query To: phlmlk@ARTS-01.NOVELL.LEEDS.AC.UK Cc: aesthetics@indiana.edu >Can anyone remember where the story...of a map maker who wants to make the most faithful map of Britain, and so ends up making a map the size of Britain, comes from? I have an idea that it may be from Lewis Carroll's Sylvie and Bruno but< It is from Sylvie and Bruno. Renford Bambrough quotes it at the beginning of the article 'Principia Metaphysica.' Cheers, Robert Paul robert.paul@reed.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: 21 Jun 96 10:33:23 PDT From: Robert.Paul@directory.Reed.EDU (Robert Paul) Subject: Re: Aesthetics: Re: map reference query To: kollos@cavehill.dnet.co.uk (Jonathan Walker) Cc: aesthetics@indiana.edu >Only the Royce passage concerns a map of England, whereas you seem to have the Carroll in mind, so perhaps you have conflated the two...< Thanks, John. I seem to have conflated them too. Robert robert.paul@reed.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 21 Jun 1996 17:57:11 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: aesthetics@indiana.edu Subject: Aesthetics: Re: map reference query M.L. KIERAN wrote: > Can anyone remember where the story or idea of a map maker who wants > to make the most faithful map of Britain, and so ends up making a map > the size of Britain, comes from? I have an idea that it may be from > Lewis Carroll's Sylvie and Bruno but I really don't know and can't > track it down. Any references or pointers in the right direction > would be most gratefully received. There are really two paradoxes concerning the 1:1-scale map. First, the Paradox of the Complete Map, from Lewis Carroll's *Sylvie and Bruno Concluded*, 1893 (original italics marked with asterisks): ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "That's another thing we've learned from *your* Nation", said Mein Herr, "map-making. But we've carried it much further than *you*. what do you consider the *largest* map that would be really useful?" "About six inches to the mile." "Only *six inches*!" exclaimed Mein Herr. "We very soon got to six *yards* to the mile. Then we tried a *hundred* yards to the mile. And then came the grandest idea of all! We actually made a map of the country, on the scale of *a mile to a mile*!" "Have you used it much?" I enquired. "It has never been spread out, yet." said Mein Herr: "the farmers objected: they said it would cover the whole country, and shut out the sunlight! So we now use the country itself, as its own map, and I assure you it does nearly as well." ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ And second, the Paradox of the Inclusive Map, which you can find in Royce's *The World and the Individual*, 1899: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Let us imagine that a portion of the soil of England has been levelled off perfectly and that on it a cartographer traces a map of England. The job is perfect; there is no detail of the soil of England, no matter how minute, that is not registered on the map; everything has there its correspondence. This map, in such a case, should contain a map of the map, which should contain a map of the map of the map, and so on to infinity. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Only the Royce passage concerns a map of England, whereas you seem to have the Carroll in mind, so perhaps you have conflated the two in your memory. -- Jonathan Walker Queen's University Belfast mailto:kollos@cavehill.dnet.co.uk http://www.music.qub.ac.uk/~walker/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sun, 23 Jun 1996 17:20:48 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: dom lopes Subject: Re: Aesthetics: Paradox of the Inclusive Map I wrote, > >... And second, the Paradox of the Inclusive Map, which you can find > >in Royce's *The World and the Individual*, 1899: > > > >Let us imagine that a portion of the soil of England has been > >levelled off perfectly and that on it a cartographer traces a map > >of England. The job is perfect; there is no detail of the soil of > >England, no matter how minute, that is not registered on the map; > >everything has there its correspondence. This map, in such a case, > >should contain a map of the map, which should contain a map of the > >map of the map, and so on to infinity. and Dom Lopes wrote, > hmm, i'm not sure about this one. provided that a map is a representation > in which a blue area conventionally denotes water, a brown line denotes > a constant altitude, a red line denotes a road and such-like, then Royce's > map obviously does not contain a map of the map, for no drawn map is made > up of water, altitudes or roads. Royce is playing fast and loose with > 'correspondence.' I have no particular interest in defending Royce, but I'm not convinced by Dom's dismissal of the paradox. The legitimacy of the paradox hinges on relief: the cartographer can only make an impression on the soil - he has no paper and coloured inks for this purpose. I'm not sure what Royce had in mind (he probably didn't give the matter much consideration), but clearly it would run against map-making conventions to produce a proportional relief-model of the landscape of England, so some convention must be used to keep the map in two-dimensions - or strictly-speaking, with a very shallow third dimension. It is important that the precise depth of the cartographers narrow furrows should not be of any significance, or else the map would degenerate into just such a relief model (positive or negative). A problem perhaps arises when we consider the permenance of features noted by the cartographer: buildings are marked differently on maps because of their impermenance relative to the relief of the landscape - imagine a small hill situated beside an enormous edifice that towered above it. The hill would be registered as a feature of the land's relief, whereas the building, in spite of its elevation, would not. Now in the case of Royce's cartographer, the issue of permenance is blurred, since every furrow in every ploughed field must be registered if we are to allow the inclusion of the cartographer's much finer impressions. In this case, the map can only represent the landscape at a single moment, since the ploughman and the weather alter these features to a degree greater than any likely difference between flat soil and the cartographer's impressions. So with permenance lost as a criteria of selection, it would seem to follow that every building must be registered as a feature of relief. Some might indeed than regard the conventions of map-making as having been violated, but not in the way that Dom suggested, for Dom's strictures didn't even grant the modest assumptions required for a map on soil, rather than on paper. I realise this is a rather trivial matter; I suppose we can all go home now, deciding for ourselves whether Royce has been vindicated or not. I would certainly concede that Carroll's map paradox doesn't need such special pleading. -- Jonathan Walker Queen's University Belfast mailto:kollos@cavehill.dnet.co.uk http://www.music.qub.ac.uk/~walker/ ################################################ Date: Mon, 24 Jun 1996 00:17:33 -0600 (MDT) From: "John W. Heintz" To: aesthetics@indiana.edu Subject: Re: Aesthetics: Paradox of the Inclusive Map On Sun, 23 Jun 1996, dom lopes wrote: > > > >And second, the Paradox of the Inclusive Map, which you can find > >in Royce's *The World and the Individual*, 1899: > > > > > >Let us imagine that a portion of the soil of England has been > >levelled off perfectly and that on it a cartographer traces a map > >of England. The job is perfect; there is no detail of the soil of > >England, no matter how minute, that is not registered on the map; > >everything has there its correspondence. This map, in such a case, > >should contain a map of the map, which should contain a map of the > >map of the map, and so on to infinity. > > > > hmm, i'm not sure about this one. provided that a map is a representation > in which a blue area conventionally denotes water, a brown line denotes > a constant altitude, a red line denotes a road and such-like, then Royce's > map obviously does not contain a map of the map, for no drawn map is made > up of water, altitudes or roads. Royce is playing fast and loose with > 'correspondence.' > > the 'paradox' might arise if we used a landscape as a map of itself, as is > Carroll's idea. but i doubt merely using something as a map makes it a map. > > the paradox might also work in a limited way with respect to certain > features. for the paradox to work with respect to some feature F, the map > would have to represent an F in the landscape by means of an F on the map. > are there any such features? > > dom lopes If, indeed, "there is no detail of the soil of England, no matter how minute, that is not registered on the map," then every detail of this map--itself part of the soil of England--will be registered on it. So just as the map contains a symbol for London, the part of the map that represents itself will contain a part that represents whatever "details" of the map constitute that symbol. The map. so described, contains a part which contains a representation of every feature of the map. The nice question Dom raises is whether the part representing the symbol for London is itself somehow also a symbol for London. On typical maps of the UK, the symbol for London is not itself a map of London. So a map (description) of that symbol [e.g., a large black dot inside a large star] won't be a map (description) of London. The paradox seems to turn on the [false] supposition that a map of something somehow resembles that thing, and that every symbol on a map that denotes something also somehow resembles it. john heintz __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sun, 23 Jun 1996 10:18:12 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: Paradox of the Inclusive Map > >And second, the Paradox of the Inclusive Map, which you can find >in Royce's *The World and the Individual*, 1899: > > >Let us imagine that a portion of the soil of England has been >levelled off perfectly and that on it a cartographer traces a map >of England. The job is perfect; there is no detail of the soil of >England, no matter how minute, that is not registered on the map; >everything has there its correspondence. This map, in such a case, >should contain a map of the map, which should contain a map of the >map of the map, and so on to infinity. > hmm, i'm not sure about this one. provided that a map is a representation in which a blue area conventionally denotes water, a brown line denotes a constant altitude, a red line denotes a road and such-like, then Royce's map obviously does not contain a map of the map, for no drawn map is made up of water, altitudes or roads. Royce is playing fast and loose with 'correspondence.' the 'paradox' might arise if we used a landscape as a map of itself, as is Carroll's idea. but i doubt merely using something as a map makes it a map. the paradox might also work in a limited way with respect to certain features. for the paradox to work with respect to some feature F, the map would have to represent an F in the landscape by means of an F on the map. are there any such features? dom lopes __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Tue, 25 Jun 1996 08:48:47 -0700 (MST) From: henry Subject: Re: Aesthetics: Paradox of the Inclusive Map To: dom lopes Cc: aesthetics@indiana.edu On Sun, 23 Jun 1996, dom lopes wrote: > hmm, i'm not sure about this one. provided that a map is a representation > in which a blue area conventionally denotes water, a brown line denotes > a constant altitude, a red line denotes a road and such-like, then Royce's > map obviously does not contain a map of the map, for no drawn map is made > up of water, altitudes or roads. Royce is playing fast and loose with > 'correspondence.' I am reminded of a weather map used by the BBC (?) and floating in the Thames where the water IS water! Also, I once had a plastic vacuformed map where the state of arizona was displayed in dynamic relief. Altitude was a scaled and sensible component here. And any kid who has moved his Tonka trucks along a "road" understands the correspondence to the tarmack at the end of the driveway. > the 'paradox' might arise if we used a landscape as a map of itself, as is > Carroll's idea. but i doubt merely using something as a map makes it a map. ..."the map is not the territory" eh? Semantically perhaps, but not practically. A map is a tool. Apes use a bit of straw as a tool to remove ants or termites from a nest. Snap-on or Sears do not carry it in their catalogs and so in that context a bit of straw is not a tool. In certain chimps contexts it is. Using something as a tool makes it a tool if only in a limited context. If an arrangement of napkin dispensers, Sugar bowl, salt and pepper shakers, knives and spoons, will communicate to me the layout of a section of a city of sufficient resolution to allow me to make it to the metro station it IS a map. As Vaihinger pointed out, we frequently function through emulation, through "as-if". We treat object A "as-if" it were object B. Literally, and to some extent, we treat the map "as-if" it were the territory. If we could stand on a mountain top and point to landmarks we could indeed use the territory AS a map (as indeed we did long ago, and continue to do to this day). As tools maps are used in much broader contexts than simple real estate. Years ago Charles Hampden-Turner published "Maps of the Mind" a tool i still refer to. The Human Genome Project aims to map human DNA, a map at a much larger scale than 1:1. Maps can take on additional dimensions NOT apparent in the territory. The map IS NOT (literally or at least usually) the territory, but generally we behave as-if it were. Problems arise ONLY when we forget that we are dealing with an emulation or an abstraction. That problem is called reification. henry ################################################ To: aesthetics@indiana.edu From: rufina@borg.com (Rufina) Subject: Aesthetics: Art and Decadence? Greetings everyone! I am working on an independent study project concerning art and the law. "Art, like Morality, consists of drawing the line somewhere." I would like to hear from anybody who has a general interest or helpful information for me. I am currently diving into the different definitions/functions of aesthetics. Pleasure and value - are they distinct or identical? The moralist converts pleasure into value (i.e. justice etc.) and the hedonist converts value into pleasure. Regards, Rufina __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ ################################################ Date: Tue, 25 Jun 1996 15:32:38 -0500 (CDT) From: Theodore Gracyk To: dom lopes Cc: aesthetics@indiana.edu Subject: Aesthetics: Re: question on source Members of the list: in the Spring 1996 issue of _The American Scholar_ Jacques Barzun repeats "the anecdote of the composer who played his latest piece to his guests, aftwer which one of them asked what its meaning was. The composer sat down at the piano again and played through once more." Anybody out there have a source for this story? Barzun doesn't name a composer, but I've turned up at least three composers to whom it's attributed. Does anybody know of a reliable source for this anectode, tying it to a specific composer? I guess what I'm looking for is a composer's biography that in which it appears as a "true" story. thanks, Ted Gracyk __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Tue, 25 Jun 1996 19:50:43 -0400 (EDT) From: Donald Keefer To: Theodore Gracyk Cc: dom lopes , aesthetics@indiana.edu Subject: Re: Aesthetics: Re: question on source Ted, I heard this story in relation to Beethoven's performance of his so-called (later) Pathetique Sonata. I have not been able to verify the anecdote anywhere. I heard in Alan Tormey's Aesthetics class when I was an undergraduate. Alan was a concert flautist at one point. He studied at Eastman School of Music, I recall. He might be a good contact. Good luck. _________________________________________________________ Don Keefer Dept. of History, Philosophy dkeefer@risd.edu and Social Sciences (o) 401 454-6263 Rhode Island School of Design (h) 401 351-7436 2 College St., Providence, RI 02903 ################################################ Date: Tue, 25 Jun 1996 17:58:29 -0500 To: aesthetics@indiana.edu From: Richard Woodfield (by way of dom lopes ) Subject: Aesthetics: BSA Conference THE BRITISH SOCIETY OF AESTHETICS NEWSSHEET OXFORD CONFERENCE PROGRAMME: A joint meeting of the BSA with the Hellenic Society for Aesthetics Thursday 29th August 3.30Check in and tea 5.00Assemble in Quad for Oxford Stroll (Mystery Destination) 7.00Dinner 8.00Sir Bernard Fielden on the Aesthetics of Conservation [Sir Bernard was responsible for the Restoration of York Minster after its fire] Friday 30th August 8.00Breakfast 9.00Dionysis Zivas "The urban environment as an aesthetic experience" [Professor Zivas is responsible for the conservation of the Plaka at the foot of the Acropolis] 9.45 Terry Diffey "The concept of landscape" 10.30Coffee 11.15Alexander Zannos "Architecture and Quality" 12.00Panayotis Tournikiotis "The aesthetics of historical stratification: architecture and archaeology 12.45Lunch 1.45Stein Olsen "The concept of a canon" 2.30Theresa Pentzopolou "A response to Richard Woodfield's `Tradition and Bildung' 3.15Tea 4.00Nicholas Davey "On aesthetics and nearness" 4.45Panayiotis Pattichis "Aesthetic Evaluation and enjoyment of Pericles' Funeral Oration" 7.00Dinner in The Old Dining Hall Saturday 1st September 8.00Breakfast 9.00Ed Winters "What's New?" 9.45Nick McAdoo "As Time Goes By: Music and Time" 10.30Coffee 11.15Yannis Ioannidis "Aspects of Tradition in Music" 12.00Anthony Lukacs "Aspects of Modern Hungarian Music" 12.45Lunch 1.45Athanasa Glycofrydi-Leontsini "Classic and Romantic in Neohellenic Aesthetics 2.30Suzanne Stern-Gillett "Plotinus on Beauty" 3.15Tea 4.00Pavlos Scaltsoyannis "General and Particular in the Philosophy of R. G. Collingwood" 4.45Hugh Bredin "Art and Literature in Plato's Republic" 6.00Assemble in Quad for visit to Christchurch Gallery 7.30Dinner Sunday 8.00Breakfast 9.00BSA AGM (our guests do not have to come to this!) 10.00Assemble in Quad for guided tour: an exercise in practical aesthetics 12.30Lunch and depart Full board (meaning food and accomodation from Thursday tea to Sunday lunch at St. Edmund's Hall)will cost £110; parking will cost an extra £15. Cheques should be made payable to "The British Society of Aesthetics". Please send details of what you require (eg. special diets, rooms without too many steps etc.) along with your cheque to: Richard Woodfield, BSA, Nottingham Trent University, Nottingham NG1 4BU Mark the envelope "Oxford Conference" Please make sure that your application and cheque gets to me straight away. I will not accept any bookings after August 1st!!! __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Tue, 25 Jun 1996 17:58:46 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: Style Conference THE STYLE CONFERENCE, to be held July 25-28, 1997 in Bowling Green, Ohio, will assemble people working in feminist and cultural studies, postmodernist and queer theory, design, media, and other fields to discuss the new scholarship on style. We hope to provide a unique interdisciplinary forum that will also incorporate the major critiques of that work. Our notion of style is primarily bodily and performative, but we invite consideration of a wide variety of material, cultural, and discursive experiences around the theme of Theorizing Style: Pleasures and Dangers. Potential topic areas include: performing style, age and generation, styling desire, fashion/fun/guilt, academic styles, appropriation/commodification/exploitation. Proposals welcomed in any format: individual papers, preconstituted sessions, workshops, roundtable, film and video, performance, multimedia presentations. Deadline for 250 word abstracts: December 1, 1996. Further information: Laura Stemple Mumford. lsmumford@aol.com (608) 238-3612 or Ellen E. Berry eberry@bgnet.bgsu.edu, (419) 372-2620 __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: "Joanna Kerr" To: aesthetics@indiana.edu Date: Thu, 27 Jun 1996 10:51:27 +0000 Subject: Aesthetics: Weather maps wee correction henry; the British TV weather map where the water IS water features not on the BBC but on the show This Morning made by Granada Television. The show is currently based not in London but in Liverpool, and so the map is floating in the docklands of the northwest, and not in the Thames. Joanna Kerr __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: Howlett Sarah To: "'Journal of the Canadian Societ'" Subject: Aesthetics: Blackwell Publishers Date: Thu, 27 Jun 96 09:45:00 GMT Dear Review Editor We would be very interested in sending you our recently published books for review in your Journal. Could you please provide us with your mailing address in order that we can send you a catalogue and future books. Best Regards Sarah Howlett email: showlett@blackwellpublishers.co.uk __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 27 Jun 1996 16:14:33 +0200 To: aesthetics@indiana.edu From: willem@iepr.ucl.ac.be ( L.WILLEM) Subject: Aesthetics: reading list: aesthetics Hello! Is it possible to receive that list? Thank you Lydie Wilem __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 27 Jun 1996 06:05:13 -0700 (MST) From: henry Subject: Re: Aesthetics: Weather maps To: Joanna Kerr Cc: aesthetics@indiana.edu thanks Joanna! I hadn't twigged to that bit. I'll try and revise my internal map of that one. ;-) Don't have an auditory cue (accent) associated with the map so I'll just have to imagine the fab four performing on it (in the NW quad) if I can. In the past 20 years or so I think I've seen that map twice, but maybe a third time in an american cinema film on the telly. Of course american directors don't care if something is in up in the north west. If it's a big city it must be London, right? I mean, they don't even know where the West End is, do they now? 'nuf said, 'nuf said! Henry __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: 27 Jun 96 22:05:52 PDT From: Robert.Paul@directory.Reed.EDU (Robert Paul) Subject: Aesthetics: The editor's new clothes To: aesthetics@indiana.edu >"Seams What Visual Arts does to Philosoply"< I know not 'Seams'. >"Hot Patatoes"< >These will be followed with additional 5-6 titles< >the hybrid format of monograph and anthology in one book.< Meaning what, precisely? >All reproductions will be black and white (the number of these will vary in keeping with the articles reproduced and those required by the respondent) author.< The author is black and white? >cummulatively< >Discription< The foregoing do not inspire trust in the editorial abilities of their author. robert.paul@reed.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 28 Jun 1996 20:38:10 +0100 To: "'Journal of the Canadian Societ'" From: Richard Woodfield Subject: Aesthetics: Blackwell Publishers Dear Review Editor We would be very interested in sending you our recently published books for review in your Journal. Could you please provide us with your mailing address in order that we can send you a catalogue and future books. Best Regards Sarah Howlett email: showlett@blackwellpublishers.co.uk __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 27 Jun 1996 23:49:31 -0400 To: aesthetics@indiana.edu From: ostrow@is2.nyu.edu (Ostrow/Kaneda) Subject: Aesthetics: CV To Whom it may concern: I am the editor of the series of books called "CRITICAL VOICES: In Art, Culture and Critical Theory." The Series is being published under the Gordon and Breach Art International imprint. This series represents a new venture for them, DAP (Distributor's of Art Publications) will be handling the distribution in the Us and Thames and Hudson in Europe The first five proposed titles, to be published Spring 1996 are "Seams What Visual Arts does to Philosoply" Stephen Melville / Jeremy Gilbert-Rolfe, "Hot Patatoes" Lucy Lippard / Laura Cottingham, "Literature, Media, Information" Fredrich Kittler/John Johnston, "Mediating Media" Marshal McLuhan/Michell Moos , "Capacity" Tom McEvilley/ Roger Denson . These will be followed with additional 5-6 titles every Spring and Fall As to the format of the 'CRITICAL VOICES' series it is built on a the hybrid format of monograph and anthology in one book. The books will be a uniform appox. 6' X 9", containing between 140 to 180 pages. All reproductions will be black and white (the number of these will vary in keeping with the articles reproduced and those required by t he respondent) author. The book will be divided into three sections. The first section will be a short introduction, dealing with both the importance of the authors and the issues raised.The second section will consist of between 7-10 essays ( previously published or unpublished) by either an artist, critic or theorist ( it is possible that these will not be by a single author, but organized around a specific topic). The third section will be an appoximately 10,000- -15,000 word critical 'afterwords' by a respondent author. This text will address the issue and the view of the 'author. All rights for those essays collected or commissioned will be retained by the author. My intent is for these books cummulatively form a library of texts which address the issues and changing views that mark the transition from Modernist to post-Modernist thought. I believe that the series will provide a crucial compendium of the changing terms, conditons, issues and outlooks that definine our contemporary intellectual and critical environment. Un-like other series, Critical Voices because it will be multi-generational and discursive in its approach, hopes to break with the episodic and linear vision that continues to dominate much contemporary thought. I'm trying to work out both my Fall '97 and Spring '98 schedule. The following form outlines the information I need from you. To this end I am very interested in having proposals for books on an author or subject you have particular interest in. Title Subtitle Authors Table of Contents Titles of Selected essays 1. original publication vol. issue, page numbers, approx. word count 2. 3. 4. Etc Title of Commentary .........by: approx. number of pages Illustrations: Number of Black and White Book Size 6"X9" Discription of books content Authors' Info Saul Ostrow Art Editor Bomb Magazine Co-editor of the Journal Lusitania General Editor for "Critical Voices" __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 4 Jul 1996 11:42:03 +0200 To: aesthetics@indiana.edu From: Rob.vanGerwen@phil.ruu.nl (Rob van Gerwen) Subject: Aesthetics: please help Hello All, I am stil looking for a way to contact professor Michael Baxandall. Can anyone please help me out? All the best, Rob _________________________________________________________________ Rob van Gerwen Phone: + 31 30 2532087 Dept. of Philosophy Fax: + 31 30 2532816 Utrecht University Rob.vanGerwen@phil.ruu.nl P.O.Box 80.126 http://www.phil.ruu.nl/home/rob/rob.html 3508 TC Utrecht The Netherlands __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 4 Jul 1996 00:35:19 +0300 (WET) From: Eddy Zemach To: aesthetics@indiana.edu Subject: Aesthetics: Maps The solution offered by Dom Lopes to the map regress raises an interesting question. Lopes rightly notes that maps use two kinds of representation; let us call them 'Iconic' and 'Symbolic'. Lopes shows that if only iconic representation is used, the regress is unavoidable. The regress is blocked by the map's use of symbolic representation. On the other hand, had symbolic representation been extensive (say, a symbol for each kind of shore-line, a symbol for the gradient of elevation, etc.) the result was a text, not a map. So, what MUST be iconically represented for a representation of a terrain to be a map? EZ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 04 Jul 1996 18:03:57 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: aesthetics@indiana.edu Subject: Re: Aesthetics: Maps Eddy Zemach wrote: > Lopes rightly notes that maps use two kinds of representation; let us > call them 'Iconic' and 'Symbolic'. Lopes shows that if only iconic > representation is used, the regress is unavoidable. The regress is > blocked by the map's use of symbolic representation. On the other hand, > had symbolic representation been extensive (say, a symbol for each kind > of shore-line, a symbol for the gradient of elevation, etc.) the result > was a text, not a map. So, what MUST be iconically represented for a > representation of a terrain to be a map? Maps cannot mutate into texts no matter how much their iconic content is displaced by the use of symbols, since the spatial relations between the symbols on the map will remain significant. -- Jonathan Walker Queen's University Belfast mailto:kollos@cavehill.dnet.co.uk http://www.music.qub.ac.uk/~walker/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 05 Jul 1996 00:02:01 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: aesthetics@indiana.edu Subject: Re: Aesthetics: Maps Eddy Zemach said: > > [JW] Maps cannot mutate into texts no matter how much their iconic content is > > displaced by the use of symbols, since the spatial relations between the symbols > > on the map will remain significant. > > > > [EZ] I think Walker's answer is this: > In a map, all spatial distances represent iconically. > That is too strong. E.g. "Dunboyne" on the map is longer than "Dublin", yet > Dunboyne is smaller than Dublin. Ditto for WIDTH of lines that represent > highways: it is not iconic. The use of some symbolic, rather than iconic, representation on a map already implies that not every distance marked out on a map will be significant, otherwise Llanfairpwchgwyngwchgogerychwyrnllantisiliogogococh ought indeed to be larger than London (apologies to any Welsh-speaking readers if I made a mistake -- I'm relying on memory). But if on any map of Britain I see that "Aberdeen" is closer to "London" than "Llanfair...", I would question the cartographer's sincerity rather than the projection. Likewise the width of roads is not an iconic feature (they are usually colour-coded according to their status, and status is not supervenient merely on the physical properties of the roads), but the spatial disposition of the roads on a map _is_ iconic. -- Jonathan Walker Queen's University Belfast mailto:kollos@cavehill.dnet.co.uk http://www.music.qub.ac.uk/~walker/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 5 Jul 1996 00:06:51 +0300 (WET) From: Eddy Zemach To: Jonathan Walker Cc: aesthetics@indiana.edu Subject: Re: Aesthetics: Maps On Thu, 4 Jul 1996, Jonathan Walker wrote: > Eddy Zemach wrote: > > > Lopes rightly notes that maps use two kinds of representation; let us > > call them 'Iconic' and 'Symbolic'. Lopes shows that if only iconic > > representation is used, the regress is unavoidable. The regress is > > blocked by the map's use of symbolic representation. On the other hand, > > had symbolic representation been extensive (say, a symbol for each kind > > of shore-line, a symbol for the gradient of elevation, etc.) the result > > was a text, not a map. So, what MUST be iconically represented for a > > representation of a terrain to be a map? > > Maps cannot mutate into texts no matter how much their iconic content is > displaced by the use of symbols, since the spatial relations between the symbols > on the map will remain significant. > I think Walker's answer is this: In a map, all spatial distances represent iconically. That is too strong. E.g. "Dunboyne" on the map is longer than "Dublin", yet Dunboyne is smaller than Dublin. Ditto for WIDTH of lines that represent highways: it is not iconic. EZ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 05 Jul 1996 00:14:52 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: aesthetics@indiana.edu Subject: Aesthetics: Achilles and the Tortoise Our recent discussion on maps began with a query concerning a Lewis Carroll paradox; I now have a query of my own concerning another of Carroll's writings: I cannot (I'm ashamed to say) recall at this moment just what was said in the exchange between Achilles and the Tortoise -- I can't even unearth the source (was the original in a very early edition of Mind?). If anyone would like to save me some time in this regard, I'd be very grateful. I know I should continue searching my memory or spend more time at the bookshelves, but perhaps someone out there would be soft-hearted enough to spare me the effort. Thanks. (And please, Zeno won't do.) -- Jonathan Walker Queen's University Belfast mailto:kollos@cavehill.dnet.co.uk http://www.music.qub.ac.uk/~walker/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 05 Jul 1996 08:43:14 -0700 (MST) From: henry Subject: Re: Aesthetics: Achilles and the Tortoise To: aesthetics@indiana.edu J. Try Douglas Hofstadter. (it may have shown up in Scientific American) but I think it is in his _Godel, Escher, and Bach: an eternal golden braid_ hgt __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 05 Jul 1996 18:24:31 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: aesthetics@indiana.edu Subject: Re: Aesthetics: Achilles&Tortoise results Thanks to all those who have so kindly and promptly answered my request concerning the Lewis Carroll "Achilles and the Tortoise" dialogue. I now have a number of sources to choose from; I had quite forgotten the Mind centenary commentary which appeared last year -- this was indeed the last time I had seen it. -- Jonathan Walker Queen's University Belfast mailto:kollos@cavehill.dnet.co.uk http://www.music.qub.ac.uk/~walker/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: "R.Samuels -Robert Samuels" To: aesthetics list Subject: Re: Aesthetics: Achilles and the Tortoise Date: Sat, 06 Jul 96 06:17:00 BST > >Try Douglas Hofstadter. (it may have shown up in Scientific American) but >I think it is in his _Godel, Escher, and Bach: an eternal golden braid_ > Pardon me, but isn't Hofstadter's piece called 'what Achilles replied to the Tortoise'? Or maybe he reprints the Lewis Carroll as well... The Carroll original is on page 1104 of the complete edition (either the 1939 Nonesuch Press or the later Peguin reprint), and the date is given as 1894, but no source. It is too long for me to type out here. Robert Samuels The Open University r.samuels@open.ac.uk __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 10 Jul 1996 10:17:05 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: cfp Henry James & philosophy Call for Papers Topic: James and Philosophy Submissions are invited for The Henry James Review forum, James and Philosophy, scheduled for publication in Fall 1997. This forum will take up what has proved to be the enduring critical temptation to connect Henry James's writing to philosophy. What is gained by reading James's work with or even as philosophy? What is lost? "James and Philosophy" will include contributions by both literary critics and philosophers and address, implicitly and explicitly, the challenges of interdisciplinary discussion. HJR forums provide a flexible space for critical conversation about a specific topic and allow for shorter, less formal contributions. Submissions may address any aspect of the topic "James and Philosophy." One-page proposals or short essays should be sent by March 1, 1997 to Susan M. Griffin, Editor, The Henry James Review, Department of English, University of Louisville, Louisville, KY 40292. E-mail: JAMESR@ULKYVM.LOUISVILLE.EDU __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 10 Jul 1996 10:17:15 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: cfp Linguistics & Literature CALL FOR PAPERS: LANGUAGING: THE NINTH ANNUAL CONFERENCE ON LINGUISTICS AND LITERATURE University of North Texas Department of English and the GSEA 7-8 February 1997 Radisson Hotel and Conference Center, Denton, Texas KEYNOTE SPEAKERS: Mark Turner, University of Maryland Author of Death is the Mother of Beauty (1987), Reading Minds (1991), and The Literary Mind (forthcoming) George Lakoff, University of California, Berkeley Author of Metaphors We Live By (with Mark Johnson, 1980), Women, Fire and Dangerous Things (1987) and Moral Politics (1996). SPECIAL FEATURE: "Languaging" with Lakoff and Turner, co-authors of More than Cool Reason (1989). Collaborative Address. Luncheon hosted by Haj Ross. Although we especially encourage submissions dealing with cognitive linguistics, conceptual metaphor, and linguistic analysis of literature, we welcome abstracts dealing with any aspect of linguistics or literature, including: Literary Analysis Linguistic Analysis Composition Theory ESL/EFL Critical Theory Theoretical Linguistics Composition/ESL Pedagogy 1st/2nd Language Acquisition Minority Literature Women's Studies Film Theory/Popular Culture Creative Writing DEADLINE FOR SUBMISSIONS: 30 September 1996 Notified by: 30 November 1996 Creative submissions of poetry, fiction or essays are also welcome, as are proposals for complete symposia. Instructions for paper abstracts, symposia proposals, and creative submissions appear below. Submissions from graduate students are encouraged. E-mailed or Faxed proposals are accepted. For more information, please contact: Languaging: the Ninth Annual Conference on Linguistics and Literature University of North Texas Department of English P. O. Box 13827 Denton, TX 76203 Linglit@unt.edu Fax: 817/565-4355 INSTRUCTIONS FOR PAPER ABSTRACTS AND CREATIVE SUBMISSIONS: Abstracts for papers should be no longer than 250 words (approximately 1 page) and should exclude name and affiliation. Please do not send full text of critical papers. Creative submissions should include the full text of the piece, and should also exclude name and affiliation. On a separate page, please send the following information: Name Affiliation Paper title Postal address E-mail address Phone number FAX Audiovisual needs Status (graduate student, faculty) INSTRUCTIONS FOR SYMPOSIA PROPOSALS: Proposals for symposia must include: an overall abstract (2 page maximum) outlining the nature of the symposium as a whole a short abstract for the overall symposium (250 word maximum), to place in the program a short abstract (250 word maximum) from each presenter, to place in the conference program. As above, these abstracts should be submitted anonymously. On a separate page, please send the following information: Symposium title Symposium paper title Name of organizer(s) Name of paper presenter Affiliation of organizer(s) Affiliation of presenter Postal address of organizer(s) Postal address of presenter Phone number of organizer(s) Phone number of presenter E-mail address of organizer(s) E-mail address of presenter FAX number of organizers FAX number of presenter Audiovisual needs WHEN SUBMITTING PAPERS: Include all of your personal data on a separate page, as abstracts will be reviewed anonymously by selected faculty members. Submit 3 copies of of abstracts, creative pieces, or symposia proposals. Include a WordPerfect 6.x compatible or ASCII disk copy of your work identified with your name, affiliation and paper title when submitting by regular mail. If your abstract includes symbols that are difficult to transcribe, a disk copy is especially important. Limit your abstract to 250 words (c. 1 page). Abstracts of accepted papers will be included in the conference program. However, because our staff is strictly volunteer, we can not promise to include abstracts which are longer than the 250 word limit. Direct questions to Suzanne Green or David Caudle at Linglit@unt.edu. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 10 Jul 1996 14:02:12 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: cfp Society of Phenomenology, Aesthetics... THE INTERNATIONAL SOCIETY OF PHENOMENOLOGY, AESTHETICS AND THE FINE ARTS presents a conference THE ORCHESTRATION OF THE ARTS: the fullness of life as expressed in a symbiosis of the arts 18-19 April 1997 Gutman Library Conference Center, Cambridge, Massachusetts Presentations should involve the correspondence of the arts, especially those in which creative synergies enhance life. Subject could include, but are not limited to, literature and music (i.e. opera, the art song), from text to performance, poetry and dance, the visual arts, stage design, architecture and human nature, performance, photography and film. DEADLINES: Feb. 1, 1997: Abstract due by Feb. 22: Notification of acceptance March 15, 1997: papers due After August 20th, submit abstract and list of necessary equipment to: Professor Marlies Kronegger President ISPAFA Michigan State University, OHB 313 East Lansing MI 48824 U.S.A. FAX (517) 432-3844 kronegge@pilot.msu.edu Inquiries before July 10 and after August 7 can be sent to: Patricia.Trutty-Coohill@wku.edu (Secretary, ISAPFA) __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: 12 Jul 96 00:19:13 PDT From: Robert.Paul@directory.Reed.EDU (Robert Paul) Subject: Re: Aesthetics: Query: Psychology & Aesthetic response To: phi246b@silas.cc.monash.edu.au Cc: aesthetics@indiana.edu >Does anyone know of any empirical research on differences in response to black and white and colour images?< Dan, Could you give us some hints as to what sorts of differences you have in mind? Cheers, Robert Paul robert.paul@reed.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 12 Jul 1996 16:56:06 +1000 (EST) To: aesthetics@indiana.edu From: Dan Vine Subject: Aesthetics: Query: Psychology & Aesthetic response Does anyone know of any empirical research on differences in response to black and white and colour images? _______________________________________________ Dan Vine phi246b@silas.cc.monash.edu.au Philosophy Department, Monash University, Clayton, Victoria 3184, Australia Web: http://www.monash.edu.au/~phi246b/ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 12 Jul 1996 21:24:08 +0100 To: Dan Vine From: Richard Woodfield Subject: Re: Aesthetics: Query: Psychology & Aesthetic response Cc: aesthetics@indiana.edu At 16:56 12/07/96 +1000, you wrote: > >Does anyone know of any empirical research on differences in response to >black and white and colour images? > >_______________________________________________ > >Dan Vine phi246b@silas.cc.monash.edu.au > Philosophy Department, Monash University, Clayton, Victoria 3184, Australia > Web: http://www.monash.edu.au/~phi246b/ > >__________________________________________________________ >Aesthetics Mailing List: aesthetics@indiana.edu >To Unsubscribe: majordomo@indiana.edu >List-Owner: Dominic Lopes at dlopes@indiana.edu >Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl > > Dan, I would be very interested to hear the results of your enquiry. My own small observation is that Gombrich has some remarks on the subject in Art and Illusion 1986 edn pp. 189-90. Not much, but enough to screw up any naive psychological testing. Best wishes, Richard Woodfield __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sat, 13 Jul 1996 09:58:09 -0500 To: phi246b@silas.cc.monash.edu.au From: ecparkin@servtech.com (Eric Parkinson) Subject: Re: Aesthetics: Query: Psychology & Aesthetic response Cc: aesthetics@indiana.edu At 16:56 12/07/96 +1000, you wrote: > >Does anyone know of any empirical research on differences in response to >black and white and colour images? I have yet to read this article and it seems to me that it will be about empirical research on color perception only, but I'll give you the reference anyway. It is "Biological Aspects of Color Naming" by Heinrich Zollinger and it can be found in a book entitled _Beauty and The Brain: Biological Aspects of Aesthetics_. eds. Rentschler, Herzberger and Epstein. Birkhauser Verlag:1988 I also wonder if Larry Hardin's _Color for Philosophers_ would be of some use. These are simply educated guesses. Good Luck. _____________________________ Eric Parkinson ecparkin@servtech.com http://web.syr.edu/~ecparkin _____________________________ __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: COLIN LYAS Subject: Aesthetics: reference query To: aesthetics@indiana.edu Date: Sun, 14 Jul 1996 15:39:55 +0100 (BST) Greetings to all: my proof reader needs to know (i) what the page numbers are for Rorty's "philosophy as a kind of writing" (NLH 12 1986) (ii) Who wrote "Man Proposes. God disposes So I wandered up to where you lay A little rose among the little roses And no more dead than they" I think its in the Oxford Book of Victorian Verse. I'm away from all my books and libraries at the moment so any help anyone can give would be very much appreciated. Colin Lyas __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Tue, 16 Jul 1996 14:24:00 -0700 (PDT) From: Shane Michaels To: COLIN LYAS cc: aesthetics@indiana.edu On Tue, 16 Jul 1996, COLIN LYAS wrote: > Thanks for the prompt help. The Rorty article is NLH 1978 141-160. The > ghastly poem is by Richard Middleton. Saluti. Colin Lyas Colin, Is this the Richard Middleton who co-authored "Truth Is Stranger Than It Used To Be"? __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: COLIN LYAS Subject: Aesthetics: reference enquiry To: aesthetics@indiana.edu Date: Tue, 16 Jul 1996 14:16:31 +0100 (BST) Thanks for the prompt help. The Rorty article is NLH 1978 141-160. The ghastly poem is by Richard Middleton. Saluti. Colin Lyas __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Wed, 17 Jul 1996 09:13:02 -0500 To: aesthetics@indiana.edu From: Joo Ree Kim (by way of dom lopes ) Subject: Aesthetics: transcendentalism conference Conference on Transcendentalism and American Culture Presented by the Bard Music Festival and the Bard College Program in Philosophy and the Arts This is an interdisciplinary conference on the transcendentalist movement in mid-nineteenth-century America. Distinguished researchers from the fields of philosophy, literary criticism, art history, political science, and comparative literature will present papers and engage in discussion. Free and open to the public. For information on local accomodations and travel call 914-758-7419. Friday, August 16, 1996 9:30 a.m.-5 p.m. Olin Language Center Room 115 Bard College, Annandale-on-Hudson, NY Transcendentalism and American Culture 9:30 Stanley Cavell (Philosophy, Harvard University): Introduction 10:00 Barbara Packer (English, UCLA) 10:45 Coffee break 11:00 Thomas Dumm (Political Science, Amherst College) 12:00 Lunch break Transcendentalism and the Arts 2:00 Elizabeth Johns (Art History, University of Pennsylvania) David Hertz (Comparative Literature, Indiana University) 3:15 Coffee break 3:30 Conversation Stanley Cavell James Conant (Philosophy, University of Pittsburgh) Thomas Dumm David Hertz Elizabeth Johns Ann Lauterbach (Poetry, Bard College, CUNY Graduate Center) Barbara Packer _______________________________________________ If you have any other questions or need additional info. just e-mail me jkim@bard.edu or call me 914-758-7419. Thanks again! P.S.--there is also a Bard Festival web site if anyone is interested http://www.bard.edu/events/bmf/index.htm __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: doleske@adss.on.ca Date: Fri, 19 Jul 96 15:52:41 -0500 Subject: Aesthetics: greetings! To: aesthetics@indiana.edu A new subscriber sends greetings from the centre of the universe which just happens to be iron bridge ontario canada. I kayack, make sculpture and "mail art." Have really enjoyed the lively journal, so getting some sort of connection with fellow readers - wow! - doleske __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sun, 21 Jul 1996 16:36:08 -0700 (MST) From: henry Subject: Aesthetics: brad holland?/pomo? To: Art Criticism Discussion Forum Cc: Cybernetics Discussion Group , aesthetics Either I had an odd dream or someone on some listserv passed on a discussion or (popular) definition of Postmodernism (?) that, as I recall, came from, or was in some way associated with, Brad Holland the illustrator..... (or maybe an illustrator who's work reminds me of Holland's?) In my dream, hallucination, or whatever it was, I thought I had safely saved it to some file of mine. As I cannot now find it the possibility that such a thing exists (or does not) is haunting me. Does ANYTHING about this sound familiar to anyone out there? henry __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Mon, 22 Jul 1996 08:26:41 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: Newsletter deadline The deadline for the next issue of the ASA Newsletter is August 1st. The Newsletter publishes news about aesthetics, letters to the editor, conference announcements, calls for papers, conference reports, as well as brief articles in aesthetics and the teaching of aesthetics. Email submissions are encouraged. Send them to dlopes@indiana.edu. By snailmail: Dominic Lopes Indiana University Kokomo Kokomo IN 46904-9003. More information about how to submit is available at http://www.indiana.edu/~asanl/how-to-post.html __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Mon, 22 Jul 1996 08:26:38 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: "active aestheticians" Members of the American Society for Aesthetics: please let me know about your scholarly and creative activities in past months (books and papers published etc.) It's time for me to put together the "Active Aestheticians" column of the ASA Newsletter. dom lopes __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: "Dan Noyes" To: Date: Mon, 22 Jul 1996 14:53:39 -0500 -- I am interested in pursuing a PhD with an emphasis on aesthetic methodology I have had little luck in finding programs open to less research in exchange for the creative process I am currently an Architect with a pension for methodological theory and desperately want to find a program to accentuate my belief in the interdependence of architecture and poetry with respect to process Dan Noyes dnoyes@bwbr.com 612-290-1873 __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: shiblesw@uwwvax.uww.edu Date: Fri, 26 Jul 1996 08:40:30 CST To: aesthetics@indiana.edu Subject: Aesthetics: Need encyclopedia referees I have written entries on 1) "death and dying" and 2) "egoism and altruism." for the forthcoming 1997 Encyclopedia of Applied Ethics. The editor requires three to four referees. Please advise if you would quickly read either or both of these entries for me. If so, please supply your postal address to my E mail address and I will send one or both to you: shiblesw@uwwvax.uww.edu, or Fax: 414-472-5238. Warren Shibles, N7703 Alden St. Whitewater, WI 53190. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Fri, 26 Jul 1996 15:13:04 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: ArtCommotion E-Mag > ArtCommotion debuts on the Web > Los Angeles gets its own arts magazine > Art crowd pizzazz without the black clothing > > Santa Monica, CA--July 19, 1996--Los Angeles now has an arts magazine to > call its own. The premier issue of ArtCommotion, a Web magazine > presenting contemporary visual and literary art of Los Angeles is now > available on the World Wide Web at http://www.artcommotion.com/. > ArtCommotion features commissioned art, interviews, weekly news, > reviews, and free classifieds. ArtCommotion's mission is to provide a > new way for people to experience the arts. > > Says publisher Philip van Allen, "We've created a multimedia magazine > that invites art to expand beyond the page." Art dealer Craig Krull > adds, "ArtCommotion's frequent updates reflect the fast pace of L.A. > culture. The web site affords people an opportunity to not only keep up > with the local art scene, but also to broaden it." > > ArtCommotion commissions interactive art for each issue. Established, > mid-career artists, as well as up-and-coming artists, are encouraged to > experiment with this new form of expression. Issue 1 features an > interactive work by Kim Abeles, a Los Angeles-based mixed-media, > activist artist titled Equidistant. The piece requires readers to > participate and discover for themselves the sights and sounds on > equidistant sides of Los Angeles' La Brea tar pits. Equidistant > combines maps, audio, video, and photography. Also featured in issue 1: > poetry by Amy Gerstler along with audio readings; a short story by > Benjamin Weissman; interactive haiku by Laurie Fox; interviews with > artist-filmmakers Larry Clark and Robert Longo; and a profile of artist > Ed Moses. > > ArtCommotion, the Los Angeles Contemporary Arts Magazine, is a web > magazine and resource exposing provocative, contemporary visual and > literary art. This magazine focuses on the Los Angeles area and > features commissioned art, interviews, weekly news, reviews, and free > classifieds. ArtCommotion is published by Commotion New Media > (http://www.commotion.com/), an award-winning, full-service multimedia > production company. Commotion's clients include LAUNCH Magazine, Virgin > Interactive Entertainment, Nestle's Butterfinger, CatalogSite, Microware > Systems Corporation, Thomson Consumer Electronics, and Philips > Interactive Media. > > Contact: Joe Nuccio > joe@artcommotion.com > 310.451.6240 __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sat, 27 Jul 1996 18:07:36 +0900 From: jinyup kimm Subject: Aesthetics: textbook searchh To: aesthetics@indiana.edu I am looking for the introductory textbook concerning the critical approach to visual art such as formalistic approach to visual art or poststructuralistic approach. If anybody has good information, please send me. Thank you. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Sun, 28 Jul 1996 17:42:07 +0000 From: Joel Rudinow Subject: Aesthetics: (no subject) To: aesthetics@indiana.edu CALL FOR PAPERS American Society for Aesthetics Pacific Division Meetings April 2-4, 1997 Asilomar Conference Center Pacific Grove, CA The Pacific Division of the American Society for Aesthetics will hold its annual meeting at the Asilomar Conference Center in Pacific Grove, CA, April 2-4, 1997. Papers on any topic in any area of aesthetics are invited. But especially welcome would be papers on recent and current developments and trends in culture, the arts, and aesthetic theory, i.e. on aesthetics at the turn of the millenium. Papers should run 10-12 standard pages and take no longer than 20 minutes reading time. Papers should be prepared and submitted for blind refereeing (author identified on a detachable title page only), and accompanied by a 100-word abstract. Deadline:December 15, 1996 Send papers to: Joel Rudinow Department of Philosophy Sonoma State University 1801 E. Cotati Ave. Rohnert Park, CA 94928. phone:(707)664-2277 email:rudinow@sonoma.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Tue, 30 Jul 1996 08:46:00 -0500 To: aesthetics@indiana.edu From: BRADY E (by way of dom lopes ) Subject: Aesthetics: Sibley Conference in 1997 Conference in Honour of Frank Sibley The Lancaster University Philosophy Department, with the support of the British Society of Aesthetics, the Mind Association and the Analysis Committee, will hold a conference in honour of Frank Sibley's work in aesthetics. 'Sibley and After' will take place in Ambleside, in the English Lake District, April 3-6, 1997. Speakers include: John Benson, Ted Cohen, Terry Diffey, Cheryl Foster, Peter Lamarque, Jerrold Levinson, Karlheinz Ludeking, Colin Lyas, Nick Mc Adoo and Nick Zangwill. For information please contact: Emily Brady, Philosophy Department, Furness College, Lancaster University, Lancaster LA1 4YG, ENGLAND; tel. +0044 1524 592490; fax: +0044 1524 65201; email: E.Brady@lancaster.ac.uk __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ From: "M.L. KIERAN" To: aesthetics@indiana.edu Date: Thu, 1 Aug 1996 12:10:30 GMT Subject: Aesthetics: map reference - thanks Just a brief note to say thanks to everyone who contributed to my search for the map reference from Sylvie and Bruno Concluded. Matthew Kieran. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl ################################################ Date: Thu, 01 Aug 1996 13:20:12 -0700 To: aesthetics@indiana.edu From: jvancamp@csulb.edu (Julie C. Van Camp) Subject: Aesthetics: supporting NEH I am forwarding an important message urging support for NEH and giving very specific suggestions for how to help. -- Julie Van Camp, CSU Long Beach >--------- Forwarded message ---------- >Date: Wed, 24 Jul 1996 13:29:02 -0400 (EDT) >From: John Hammer >To: Multiple recipients of list >Subject: NEH nears Senate floor > >24 July 1996 > >MEMORANDUM > >TO: NHA Members and Friends > >FR: John Hammer> >RE: Preparation for the Senate Floor > >MESSAGE/REQUEST - In the next few days, senators from across the country >need to hear from their own constituents on the FY-1997 appropriation for >the National Endowment for the Humanities (NEH). > >The constituents should urge their senators to: > >A. Contact Senators Robert Bennett (R-UT) and/or Dale Bumpers (D-AR) to >make two points: > > 1. The senator appreciates Bennett and Bumpers' eforts to increase >the appropriation for FY-97 of the NEH to at least the $110 million NEH >received in the present year's budget (i.e., FY-1996), and > > 2. The senator will support an amendment to increase NEH provided >that a viable offset is offered. > >(Of course, constituents on Bennett and Bumpers should