Wittgenstein, Danto, and Aesthetic Attitude

The integration of contemporary art practices, especially conceptual art and virtual reality technology, in teaching is a key step in adapting educational systems to the contemporary demands of a rapidly changing society. In today's digital age, virtual reality technology allows students to experience art in a whole new way, opening the door to an interactive experience of artwork. However, despite the rapid progress of technology, the teaching of art often lags behind in following contemporary trends and technological innovations, which can negatively affect the development of critical thinking among students. This raises the question of the essence and purpose of art in the context of technological progress. Does art lose its authenticity while adapting to new media and forms of expression? Art teachers have a key role in answering these questions, and it is necessary that the students' motivation is not only a superficial fascination with modern media, but that it is based on a deeper understanding and respect for art as an expression of human creativity and a reflection of the human spirit. Finding a balance between technological innovations and the essence of art is of crucial importance for preserving its role in the teaching of art culture. The goal of this research is the analysis of relevant literature and an overview of research on the effectiveness of the integration of conceptual art in the teaching of art culture with a special emphasis on students of lower grades of elementary school. The goal is to identify best practices and strategies for encouraging visual thinking and critical thinking in children through contemporary art.

As we have seen, Crescenzi does not refer directly to literary garden tropes, and yet a closer examination of his text has shown that the pleasure gardens he describes have much in common with them. Similarly, when he describes the gardens and their effect on those who enter them, Crescenzi does not employ a vocabulary one would necessarily classify as aesthetic. This is not surprising, since the aesthetic language to which we are accustomed had yet to be codified. It was not until after the Renaissance, when a distinction came to be made between the fine arts and the mechanical arts, that such an aesthetic language was developed.98 An aesthetic attitude not only requires the conception of fine art, however, it also requires a disinterested appreciation of art that does not account for function and meaning, as outlined by Immanuel Kant in the Critique of Judgment. In the Middle Ages, aesthetic writing was not of the disinterested variety we have come to associate with the modern definition of the word. It was buried in polemical texts warning against the dangerous allure of art,99 while other examples are found in theological writings.100 An aesthetic attitude can also be found in such practical texts as Crescenzi's, especially when they concern the interconnectedness of sensory perception and mental and physical health.

The Concept of Art in Ernst Cassirer’s Philosophy of CultureThe presentation is dedicated to the discussion of the concept of art and aesthetics within Ernst Cassirer’s philosophy of culture. The considerations are connected with an attempt to answer the question about the meaning of art in the system of symbolic forms and the position of aesthetics in Cassirer’s thought. It includes a reconstruction of his position on the tradition of aesthetic thought, including the theory of mimesis and theory of expression, the notion of beauty and imagination. It shows the dialogical, dynamic and communicative nature of culture as viewed by Cassirer. In the context of his intuition of culture art as a “bridge,” the following is discussed: mediation between the “I” and “You,” subjectivity and objectivity, mimesis and creativity, rationality and emotionality. References are made to the positions adopted by Michaela Hinsch, Marion Lauschke, Birgit Recki.

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehen- sion of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20 th century, then in this article we want to turn to the visual art of the second half of the 20 th century — the beginning of the 21 st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kos- suth, the movement of “new realists” and photo- realists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philo- sophical analysis of visual art of the second half of the 20 th — early 21 st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following gen- eral scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard con- temporary art as a visual philosophy. Philosophiz- ing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp be- ing. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20 th century — early 21 st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and be- ing in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

In 1968, Nelson Goodman published his Languages ofArf which became one of the most important works on aesthetics in the tradition of analytical philosophy. Goodman offered there a semiotic theory of art, the purpose of which was to explicate our concept of art in terms of different symbolic or referential functions; the theory was further developed in his subsequent book Ways of Worldmaking. Though it is a very subtle and sophisticated theory, I will argue that it is not adequate, that it doesn't even satisfy Goodman's own requirements for a theory of art. Traditionally, the aim of a theory of art has been to capture the essence of art, to describe what is common to all works of art and at the same time distinguishes them from everything else. As a nominalist, Goodman does not, however, believe that there is any essence of art that we can discover. There is just our practice of calling certain objects works of art. So, the task of defining art is not a matter of discovering a hidden

Can there be architecture? Before this question can be answered, it needs to be explained. What is meant by public architecture, and why should there be any difficulty about its possibility? The problem arises from dominance of what I shall call the Kantian aesthetic. This is a slightly misleading label because it is arguable that Immanuel Kant himself could not be said to subscribe to it. My concern, however, is not with interpretation of Kant (whose view on these matters is complex), but with a conception of art and that takes its cue from some leading ideas in Kant's third Critique. This conception identifies the with a specific act or attitude of mind that disinterestedly contemplates appearance of objects in experience and derives a distinctive sort of satisfaction from doing so. Three aspects of this conception are especially important. First, it makes apprehension of qualities a matter of individual appreciation. Such appreciation, or judgment, may well (and, according to Kant, ought to) reflect a sensus communis, a common basis on which others arrive at a similar judgment, but shared element consists in a contingent convergence of opinion. Second, judgment finds purposefulness without in objects and appearances it contemplates. This makes judgment disinterested, not in sense of judicial impartiality, but as a form of practical detachment. Third, when brought to bear on natural objects such as a rose, or created objects such as a painting or a piece of music, attitude generates a distinctive kind of often referred to as aesthetic pleasure, and it is for sake of this pleasure that experience is to be valued. These three features, it seems to me, are characteristic of a widely held conception that generates a problem for How could architecture properly be classified as art if objects of art are to be viewed independently of practical interest? Architectural constructs necessarily serve practical purposes. without a purpose is an architectural folly, such as whimsical miniature temples in landscaped gardens of some great English houses. Conversely, a medieval ruin, such as Rievaulx, presents an appearance especially well suited to attitude, but it is still an architectural ruin. Had it been built as it now is, it could not have served practical purposes required of monasteries and abbeys. In short, what I have called Kantian seems to exclude architecture proper from realms of art and gives preference to follies and ruins over functioning buildings. This implication conflicts with fact that greatest of architects-Fillipo Brunelleschi or Christopher Wren, for instance-are by common consent and usage placed alongside great painters, composers, and writers on grounds that there is a distinction between mere building and art of Nicholas Pevsner remarks in opening paragraph of An Outline of European Architecture: A bicycle shed is a building; Lincoln Cathedral is a piece of architecture. Wherein lies difference? Pevsner himself goes on to say: Nearly everything that encloses space on a scale sufficient for a human being to move in is a building; term architecture applies only to buildings designed with a view to

The main goal of this paper is to emphasize the philosophical importance of the Beautiful and the Sublime, in the light of the meaning of life. In addition, some of their opposite categories such as ugliness, kitsch or grotesque will be analyzed as well. The aesthetic judgements (or the judgements of taste) about nature, art or even some products of technology are considered fundamentally subjective, but the appropriate philosophical concept is intersubjectivity. After all, there must be some kind of agreement among the aesthetic subjects or at least some of them. Also, other aesthetic attitudes and artistic movements like the so-called performance art or conceptual art will be taken into consideration. Apart from the ussual meaning of these aesthetic values I will underline their specific autonomy. Of course, the aesthetic categories cannot be defined simply by proximate genus and specific difference, but only by analogy. In the end, I claim that the Beatiful and the Sublime are the pillars of artistic creation and of human existence seen as a work of art, through wich the other aesthetic categories come into light.

This study is to define aesthetic elements of the programming in the computer-based media art. It can be explained as the totality of the concept and reality in the respect of collaboration of art and science. The programming as aesthetic object deconstructs the traditional notion of art that the aesthetic value is determined by the aesthetic attitude. The code is not just for the computer programming, but for the pleasure. The artistic and creative ‘Open Code’ must be at the cost of the death of the code closed in a signified, and it lives, improves and changes through additional new functions or algorithms. Like the conceptual art, the programming is both a dematerialization of the object and an immaterialized meaning. It leads us to change the seat of a subject as a signifier. Therefore, ‘The beauty of program that is not there’ becomes more viable when it involves the application of aesthetics.Keywordsbeautyaesthetic objectcode readingopen codesubject

The article examines the work of Vasily Polenov. The author presents Polenov’s artistic path as the dramatic choice between what is commonly called genre and landscape painting. From the philosophical point of view, the problem consists in concept of understanding art. On the one hand, the essence of art can be reduced to «what», to writing a story, a big sense. On the other hand, art can be understood as «painting for painting’s sake». In this sense, the tension in Polenov’s work arises between the paintings «Moscow Courtyard» and «Christ and the Sinner». The author notes that the way out of this dilemma is to understand art as the subject that reflects the non-objectifiable and devoid of anything essence. The article analyzes the philosophical meaning of Polenov’s paintings of the gospel cycle and provides a philosophical analysis of the artist’s nostalgic paintings. The author comes to the conclusion that Polenov’s paintings are the form that establishes an emotionally experiencing human being

Through combining the advantages of art of movie and television, movie and television art education and educational technology, movie and television courseware has boarded the educational arena with overwhelming superiority.Thanks to its audio-visual integrated , comprehensive space-time and the combination of art and technology, the movie and television courseware has become the most promising distance education media. Development of Art of movie and television in EducationBy integrating literature, theater, painting, music, dance, sculpture, photography and other artistic essence in one, the movie and television courseware has a strong comprehensiveness."A famous American scholar Daniel Bell thinks ' Contemporary culture is becoming a kind of visual culture instead of print culture.'Art of movie and television is transmitted through the audio-visual form, regardless of educational level anyone can contact with culture by cinematic transmission."Since the birth of human culture, humanity's thought intermediary system has changed from behavioral thinking to language symbolic thinking, and then went to digital thinking.Human is in the linear logic thinking when he understands the text along the semantic logic.But the art of movie and television puts human in the state of nonlinear thinking by creating an audio-visual language system with sound, shape, time and space.1.1 As an industry, art of movie and television has a long history with more than a century and its theoretical researches can be summarized as four fields.Art of Movie and Television: From the perspective of film art creation, we study how to create the film art works (including writing a play, shooting, post production, evaluation, etc.).Social Study: Treat the art of movie and television as a cultural phenomenon and focus on the discussion of its historical value.Psychology Study: Treat the psychological changes brought by art of movie and television as the research objects.Education Study: Treat the art of movie and television as a mean of education or description.The research results of the four fields have the relationship of cross and influence each other.Our study belongs to the fourth field and by fully drawing lessons from other fields' theoretical achievements, the art of movie and television formed the new concepts of movie and television courseware during the research in education.1.2 Some traditional theories of education provide the theory support and guidance for art of movie and television providing auxiliary teaching.Scaffolding Theory: Scaffolding theory refers to promote " A child or a novice can solve a problem, complete a task, or reach a goal" by providing temporary help.Case-based Reasoning Theory: Learning based on case-based reasoning theory makes a new hypothesis for learners, gives a new definition to cognitive process, and puts forward some suggestions to improve learning, which can be realized by designing learning.Cognitive Measure Theory: In a very indirect way, namely, by the methods of storytelling to subjects, we can design different types of behavior which is called "indirect story".In fact, this method has applied cognitive measures.

The article presents a crossdisciplinary experiment of analysing web-design through a combination of the academic fields of design history and anthropology. The two authors merge aesthetic and socio-cultural aspects of new technology in a case-based discussion of the invention and use of contemporary web design. Indicating the potentials of an inter-disciplinary perspective in exploring design in general they draw on such parameters as user-differentiation and aesthetic positioning in a discussion of the role of genre and style in commercial formations on the web. Comparing examples from banking web-pages, they discuss certain aspects of cultural and esthetical conceptual representational systems that are expressed through genres and styles on the net. They argue that web design has become a central cultural field for the negotiation and expression of identity and taste, communicating different design norms and forms of social distinction.

Land art is an artistic activity, the object of which is a real fragment of the natural environment, which is interpreted by the artist not so much as the location of the work, but as the context in which his idea is concentrated. The landscape is understood as a reflection not only of ecology, but also of philosophy, sociology, history, anthropology, mythology, symbolism, and cultural history. Philosophical reflections on time and space, the importance of contexts, the understanding of fluidity, the temporality of any human intervention in nature were the original sources of many land art concepts. The purpose of the article is an attempt to determine how the philosophical practices that nourished the creativity of land art artists influenced the essence of this artistic direction. Using the method of analysis of literary sources and examples of land art, the connection that can be seen between the considerations of R. Smithson, an American artist, one of the first and leading practitioners and theorists of land art, whose texts became programmatic for many successors, and Martin Heidegger, one of the more famous philosophers of the 20th century, who considered the essence of art in the concepts of existence and truth. Smithson turned to phenomenological practices from the 1960s until the end of his life. Acquaintance with the artist’s philosophical thoughts along the lines of phenomenology of perception, a unique attitude to work with the land and forms of art representation, as well as an attempt to determine the importance of contexts for art – provides an opportunity to understand his works in a new way. Land art as an art is, first of all, work with an idea, a symbol. Philosophical background gives a special elitist taste to such works, it seems that their authors know something beyond the average vision of the world. And this approach, in our opinion, sharply separates land art from design practices, on which it undoubtedly has a great influence.

In order to understand why analytic aesthetics has lost a lot of its former intellectual stature it is necessary to combine historical reconstruction with systematic consideration. In the middle of the twentieth century analytic philosophers came to the conclusion that essentialist theories of the “nature” of art are no longer tenable. As a consequence they felt compelled to move to the meta-level of conceptual analysis. Then they tried to show how a purely classificatory concept of art is used. The presupposition, however, that there actually is such a concept can only appear plausible at first sight. Upon closer inspection it turns out to be utterly misguided.

Garry Hagberg WITTGENSTEIN, HENRY JAMES, AND EPISTEMOLOGICAL FICTION That Wittgenstein, in his later philosophy, brought a deep and powerful argument against a certain conception of philosophical activity, and that this argument in both its content and method was stardingly revolutionary, is widely known. The argument was carried out in the new form ofa philosophical investigation;1 the old conception of philosophy which it supplanted was that ofcarrying out a conceptual analysis in search of an essence. The implications of Wittgenstein's argument have been discussed, both for philosophy generally2 and for aesthetic theory in particular,3 but only in one direction. The discussion has proceeded from Wittgenstein's argument to the concept of art, culminating in the conclusion that art is not a unitary concept, or that there is no single essential feature both necessary and sufficient for arthood. In this essay I want to reverse this direction and ask what significance art, particularly fiction, can hold for our conception of philosophy. Specifically, I will argue that we can indeed arrive at a deeper comprehension of Wittgenstein's conception of a philosophical investigation through a close examination of a piece of fiction than through any attempt at theoretical encapsulation or general metaphilosophical characterizations of method. If we begin by asking the question which some might claim lies at the center of philosophy, "What is knowledge?," we will, if bound by the essentialist presumption, search for a feature, an element, an attribute, indeed an essence, that is present in every case of knowledge and moreover which, by virtue of its presence, renders the case in question a case of knowledge. Thus, just as scotch is identified as a member of a certain class ofbeverages by virtue of the presence ofa certain distillate, 75 76Philosophy and Literature so cases of knowledge are on this traditional view thought to be made to be what they are, to count as knowledge, through the presence of some common ingredient. This definitional core of the concept of knowledge has been given many formulations; perhaps the most prominent has been that ofjustified true belief.4 Thus we have in the foregoing remarks a sketch ofthe position against which Wittgenstein's argument was posed. Should we not at this point ask for a sketch ofWittgenstein's position? Consider Wittgenstein's own words: "I cannot characterize my standpoint better than by saying that it is opposed to that which Socrates represents in the Platonic dialogues. For if asked what knowledge is I would list examples of knowledge, and add the words 'and the like.' No common element is to be found in them all."5 This, as a sketch ofa position, is undeniably disappointing. It tells us, again, what the argument is opposed to; it does not shed much light on the actual argument, or the new method ofinvestigation, itself. But this is not surprising, for another well-known aspect of Wittgenstein 's later philosophy is the initially somewhat mysterious impossibility of encapsulation, or, indeed of generally characterizing the standpoint. What, we want to know with some precision, is a philosophical investigation ? To answer this question we will turn to literature. From Henry James's characteristically compressed short story, "The Tree of Knowledge,"6 one can derive an expansive list of the varieties of knowledge.7 But before attempting to assemble that list, let me say a word about the story itself. The story is constructed around four characters, including a father, mother, son, and friend of the family. But, not surprisingly, there ends the simplicity. The father is an artist, a sculptor, known by the family as "the Master"; his name to the world beyond this slightly extended family circle is Morgan Mallow. Mrs. Mallow is a gentle soul who "rejoices " in her husband's statues, and she is "attached to [the friend] Peter Brench . . . because of his affection for Morgan." Peter Brench, however, even though sincerely good friends with Morgan, has secredy been in love with Mrs. Morgan for years. Although all knew that Peter had reached the age offifty and "escaped marriage," they did not know precisely through what means this position in life had been achieved. Furthermore, James, as the narrator, tells us in the...

This chapter reconstructs the neo-Wittgensteinian proposals, and re-examines the “family resemblances” passages from the Philosophical Investigations. Arthur Danto chooses to explain the historically contextual nature of art in some of the same terms as Wittgenstein sketches for language. The neo-Wittgenstein view is typically reconstructed as a conjunction of two claims about the concept of art: the concept is not definable and it needs to be understood along the lines of Wittgenstein's discussion of “family resemblances.” The concept of art evolves historically with different uses and conditions of application in different historical contexts. Wittgenstein briefly invokes resemblances among family members to characterize such networks of overlapping similarities and immediately proceeds to apply the idea to numbers. Danto's considered view is that the diversity of art is a matter of the historicity of both meaning and embodiment.