Arts and Humanities Commons^™

Not Just Mere Things, Thomas E. Wartenberg

Contemporary Aesthetics (Journal Archive)

This paper examines Arthur Danto's contention, put forward in The Transfiguration of the Commonplace, that at a certain point in its history art becomes philosophy. The similarities and differences between Danto's view and the Hegelian one from which it is derived are examined. Using Danto's favorite example of a philosophical work of art, Andy Warhol's Brillo Box (1965), it is argued that a more plausible interpretation of the meaning of the work undermines Danto's claims about art's transformation into philosophy.

"The People Are Missing", Maryvonne Saison

Contemporary Aesthetics (Journal Archive)

It is through the ideal of a sensus communis that Aesthetics has offered to Philosophy an articulation to Politics. I will question the idea of an "aesthetic sociability" through the concept of "régime esthétique" (aesthetic regime) proposed by Jacques Rancière to define the 18th century fundamental change carried by Aesthetics in order to think art and sensibility together.

One question will be the central core of my essay, which is how to understand nowadays Deleuze’s assertion that art should be "contributing to the invention of a people."

Consensus and dissensus are two reefs between which art and philosophy navigate at …

We Believe In The Systems That Keep Us Alive, Ezra Kellerman

LSU Master's Theses

ABSTRACT We Believe In the Systems That Keep Us Alive is a body of work that uses parallels identified between writing and media critique of contemporary events. The parallels are labeled as four specific systems: nutritional, administrative, life-support, and nurturing. Through a combination of interactive and object based sculpture, each system is represented with visual metaphor and allegory to place the viewer in a direct and specialized paradox. Paradoxes audience members encounter are intended to illustrate to the audience what conflicts can arise by being included in a system where governing agency of any sort does not meet with individual …

Ua1c7 Departmental Photos, Wku Archives

WKU Archives Collection Inventories

Images showing everyday activities of university departments.

The Laboratory On 53rd Street : Victor D' Amico And The Museum Of Modern Art 1937-1969, Briley Rasmussen

Graduate Student Independent Studies

This project addresses previously unexplored areas of Victor D'Amico's career as Director of the Education Department at the Museum of Modern Art (MoMA) from 1937-69, during which time he developed and implemented his philosophy on creative teaching that developed creativity, innovation and appreciation for modern art through a focus on individual aesthetic experience. Beginning with MoMA's early role and mission and the founding of the Education Project, the education programs as a laboratory for experimental art education are studied, specifically the Museum's television series Through the Enchanted Gate and the Children's Art Carnival as exemplars of D'Amico's experimental programming. This …

After Art: Thoughts On Looking At Art, Niamh Ann Kelly

Books/Book Chapters

No abstract provided.

Meaningful Mingling: Classicizing Imagery And Islamicizing Script In A Byzantine Bowl, Alicia Walker

History of Art Faculty Research and Scholarship

No abstract provided.

Instrumental Relations: Software As Art, Art As Software, Brogan S. Bunt

Faculty of Creative Arts - Papers (Archive)

Software art is characterised by a close concern with the culture of software and the medium of programming. This inevitably demands an engagement with the terrain of the instrumental; software is a sphere of tool-making and programming is governed by conceptions of functional (and generic) utility. Yet where does this leave art? If, in Kantian terms, art is defined by its uselessness (by its lack of any externally grounded necessity) and if, in classical critical theoretical terms, this alienation from function opens up a space of critique, then how can art explore and participate within the instrumental without abandoning its …

Bounded Surface, Emilie Sayward Brown

Theses and Dissertations

The relationship between surface, perception, and structure has occupied my graduate studies. Locating, transforming, and transcending the surface requires play with perceptive abilities not only of vision, but of touch, hearing, and the other senses as well. How do the interactions of sense with the qualities of a surface determine our perception of the world? What role does the extension of the senses play in one's ability to perceive surface and structure? Using sense information gleaned from surfaces, the tectonics of our world are made visible. Might this relationship be played backwards as well? Composed structures produce surfaces upon which …

Ua1c8 Logos & Symbols Photos, Wku Archives

WKU Archives Collection Inventories

Images of logos and symbols of Western Kentucky University and its predecessors.

1. Athletics
2. Illustrations / Artwork

Open Your Eyes...On Impressing The Important Things., Heidi Dawn Ortega

Theses and Dissertations

Open Your Eyes… On Impressing the Important Things is the documentation of my first semester as a Graduate Teaching Assistant. The purpose of this thesis is to document that journey to gain greater understanding of myself and my teaching. I embrace teaching as an artist. It is an opportunity to inspire and empower. As a teacher, I am attentive to the fact that learning is a complex process. It is individual, content and context specific. I believe that the goal of teaching is to empower students to take responsibility for their learning. Teaching is an art form that can be …

Land Alive!, Or Metamorphosis In The Sportsman's Paradise, Adam Tourek

LSU Master's Theses

"Land Alive!" is best described a multimedia work. The produce of travels to the area of the Mississippi River delta, along with text-based research, formed the materials from which two evenings of participative performance were crafted. Personal narratives were used alongside evaluations of administrative programs, and the space in the Backyard Gallery was transformed using shovels, buckets, and teamwork. Found chairs, rope, and other objects, through ritualized interaction, became an aesthetic formation; everyone present worked together in the assembly of a boat, which contained the results of these interactions between myself, six volunteers, and an audience turned participants. The evenings …