Art/Artefact/Commodity: Installation design and the exhibition of Oceanic things at two New York museums in the 1940s

This article documents some of the experimentation in museum installation designs for the exhibition of non‐Western objects during the 1930s and 1940s. This is a period in which ethnographic artefacts were being displayed as artworks in natural history museums and in which the exhibition of such objects in art museums drew on techniques characteristic of not only natural history museums, but also commercial urban window displays (which were themselves enjoying a period of dazzling exuberance). The article focuses on one collection of Pacific Islands objects now housed at the Buffalo Museum of Science and on the installation designs of René d’Harnoncourt and Trevor Thomas. It responds to the provocation of Alfred Gell’s influential writings on art and agency, specifically, his conception of art as entrapment and enchantment—his claim that artworks captivate, and thus exert a kind of (secondary) agency on people (patients).     

An Integrated Unit

In this article, the author analyzes Arthur Efland's Art and Cognition, which advocates study of the visual arts for its cognitive benefits. The author argues that Efland's cognitive premises are largely sound but that his specific recommendations often belie the general principles he espouses. Efland focuses on the interpretation of baffling works that deliberately flout traditional views of what constitutes a work of art. He thereby ignores his own emphasis on the role of categorization in human cognition. Moreover, although he stresses the cognitive importance of individual goals and intentions, Efland favors sociopolitical interpretations. Such interpretations disregard contradictory evidence of the artist's likely intentions and downplay the personal value of art. The author views Efland's emphasis on visual metaphor as inconsistent with his recognition that the visual arts possess a distinctive immediacy and directness.     

Coevolutionary aesthetics in human and biotic artworlds

This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity.     

What's in a (Big) Name? The Art and Agency of a Bornean Photographic Collection

This article concerns the photographic collection of Paka anak Otor, the Bidayuh owner of a ‘mini-museum’ in Sarawak, Malaysian Borneo, and how it became entangled in his claims to status within and beyond his village. Superficially, the situation is easily apprehended via two analogous approaches within photographic theory and Southeast Asianist ethnography, which treat objects and images as representations or bearers of power and meaning. Here I suggest that such approaches end up eliding the action-centred nature of Paka's ‘big name’-making ambitions. In response, I approach his photographic collection through an analytical framework deriving from Alfred Gell's seminal theory, Art and Agency (1998), which has hitherto remained marginal to Southeast Asianist anthropology. I argue that, more than merely symbolising or bearing his ‘big name’, Paka's photographs were agentive image-objects that actively instantiated it. I conclude by asking how such an analytical shift might encourage a reconceptualisation of ‘power’ and ‘objecthood’ in Southeast Asianist anthropology.     

No correlation between lunar and menstrual cycle - an early report by the french physician J. A. Murat in 1806-

Jean Arnaud Murat was a physician at the Medical School of Montpellier in France. In 1806 he published his outstanding book “De L’Influence de la Nuit sur les Maladies ou Traité des Maladies Nocturne”. In his book he concentrated on the following questions:

- Does the night has an influence on a disease?

- Are there diseases in which this is more or less obvious?

- What is the physical background of this influence?

Murat described in detail certain diseases which dominate at night and he concluded that the most evident motivation for his observations is the constant and periodic movement of the earth around its axis, resulting in a period of about 24 h, and the elliptic rotation around the sun. Most important Murat presented for the first time data that the menstrual cycle is not governed by the lunar cycle.     

The Tragedy of a priori Selectionism: Dennett and Gould on Adaptationism

In his recent book on Darwinism, Daniel Dennett has offered up a species of a priori selectionism that he calls algorithmic. He used this view to challenge a number of positions advocated by Stephen J. Gould. I examine his algorithmic conception, review his unqualified enthusiasm for the a priori selectionist position, challenge Dennett's main metaphors (cranes vs. skyhooks and a design space), examine ways in which his position has lead him to misunderstand or misrepresent Gould (spandrels, exaptation, punctuated equilibrium, contingency and disparity), and discuss recent results in developmental biology that suggest that an a priori position does not fill the demands of an evolutionary biology. I conclude by insisting that evolutionary biology is many leveled, complicated, and is carried on an ever shifting and expanding empirical base that when disregarded results in caricature.     

Husserl's Crisis as a crisis of psychology

This paper places Husserl's mature work, The Crisis of the European Sciences, in the context of his engagement with--and critique of--experimental psychology at the time. I begin by showing (a) that Husserl accorded psychology a crucial role in his philosophy, i.e., that of providing a scientific analysis of subjectivity, and (b) that he viewed contemporary psychology--due to its naturalism--as having failed to pursue this goal in the appropriate manner. I then provide an analysis of Husserl's views about naturalism and scientific philosophy. Some central themes of the Crisis are traced back to Husserl's earlier work and to his relationship with his teacher, Franz Brentano, with whom he disagreed about the status of "inner perception" as the proper scientific method for a phenomenological analysis. The paper then shows that Husserl was well aware of at least one publication about the crisis of psychology (Bühler's 1927 book), and it teases out some aspects of the complicated relationship between Husserl and members of the Würzburg School of thought psychology: The latter had drawn on Husserl's writings, but Husserl felt that they had misunderstood his central thesis. I conclude by placing Husserl's work in the wider context of scientific, cultural, and political crisis-discourses at the time.     

Subverting the Venue: A Critical Exhibition of Pre-Columbian Objects at Krannert Art Museum

My temporary exhibition in Krannert Art Museum, The Social Context of Violence in Ancient Peruvian Art (March 27–May 23, 2004), is transgressive and self-critical. While presenting a small number of objects in the university art museum's collection that depict ancient violence (battles, human sacrifice, and trophy head taking), the exhibition simultaneously argues that the objects themselves are the result of violence, specifically to the archaeological record through the act of looting. The exhibition further suggests that the looters are themselves the victims of a failed national economic system that does not enable them to earn a living wage as farmers and of an exploitative international art market that similarly pays them little for objects that become immensely valuable (financially and culturally) once out of the country. Museums, and especially university museums, may be enabling venues for the interrogation of their own hegemonic practices.     

An interview with Olivia Gude about connecting school and community arts practice

ABSTRACT

Olivia Gude has a long and distinguished career as both a public artist and an art educator. She is currently the Angela Gregory Paterakis Professor and Chair of Art Education at the School of the Art Institute of Chicago (SAIC), where she works with graduate and undergraduate students to prepare for working as artist educators in school and community settings. Her scholarly work includes a number of articles and book chapters about art education and community art. Prof. Gude has worked as a community public artist for many years and has created over 30 large-scale mural and mosaic projects, working with intergenerational groups, teens, elders, and children. I interviewed Prof. Gude at the SAIC building in downtown Chicago to discuss how her school, university, and community art engagement as well as her work with the National Coalition for Core Arts Standards, might offer suggestions for transforming arts education for the twenty-first century and provide authentic connections between school and community. Prof. Gude discusses important enduring understandings and big ideas from the new Visual Arts National Core Arts Standards, the Spiral Workshop youth art and research project she created while at University of Illinois at Chicago, and how her experience as a community artist informs her work with students in classroom settings.     

(R)evolutionary aesthetics: Denis Dutton’s <Emphasis Type="Italic">The art instinct: beauty,pleasure and human evolution</Emphasis>

Denis Dutton’s “The Art Instinct” succeeds admirably in showing that it is possible to think about art from a biological point of view, and this is a significant achievement, given that resistance to the idea that cultural phenomena have biological underpinnings remains widespread in many academic disciplines. However, his account of the origins of our artistic impulses and the far-reaching conclusions he draws from that account are not persuasive. This article points out a number of problems: in particular, problems with Dutton’s appeal to sexual selection, with his discussion of the adaptation/by-product distinction and its significance, and with drawing normative conclusions from evolutionary hypotheses.     

Mendel's experiments: A reinterpretation

Conclusion My conclusion is that Mendel deliberately, though without any real falsification, tried to suggest to his audience and readers an unlikely and substantially wrong reconstruction of the first and most important phase of his research. In my book I offer many reasons for this strange and surprising behavior,⁵³ but the main argument rests on the fact of linkage. Mendelian genetics cannot account for linkage because it was based on the idea of applying probability theory to the problem of species evolution. Central to the theory is the law of probability according to which the chance occurrence of a combination of independent events is the product of their separate probabilities. This is the common basis of Mendel's first and second laws, but this is why Mendel's second law on independent assortment is enunciated in too general a way. From Morgan's work we now know that characters may not always be independent if their genes are located very close one to the other on the same chromosome. And this was also the basis of Mendel's personal drama: he surely observed the effects of linkage, but he had no theoretical tools with which to explain it. So he presented his results in a logical structure consistent with the central idea of his theory. Had he described the real course of his experiments he would have had to admit that his law worked for only a few of the hundreds of Pisum characters — and it would thus have been considered more of an exception than a rule. This is why he insisted on the necessity of testing the law on other plants, and this is why in his second letter to Carl Nägeli he admits that the publication of his data was untimely and dangerous.⁵⁴.We can argue that already in 1866 Mendel was less confident that his so-called second law had the same general validity as the first — and that later he lost his confidence altogether. Contemporary testimony indicates that in the end he became as skeptical as all his contemporaries as to the scientific relevance of his theory.⁵⁵ But he was wrong. His research is in no way the fruit of methodological mistakes or forgery, and it remains a landmark in the history of science. He was only the victim of a strange destiny in which the use of probability theory was responsible, at the same time, for the strength and for the weakness of his theory. We must still consider him the father and founder of genetics.     

The Representation of African Pastoralists: A Commentary

The Seattle Art Museum has been fortunate to have received major collections of African, Asian, and Northwest Coast Native American art, which now make up the bulk of its permanent collection. The display of this “other” art poses problems for curators who wish to eschew what they term an anthropological presentation yet provide context for the viewer. For the recent exhibition of “Art from Africa: Long Steps Never Broke a Back,” the museum invited several artists, performers and scholars, all of whom were members of the cultures whose art was on display, to add their curatorial voices to the presentation. The central premise was to create an immersion experience of African art for the visitor, as defined by indigenous voices. Those voices came through an audio tour compiled from interview tapes with no added narration, and lengthy interviews on computer monitors. Some objects could be recognized through performance videos played as wall-sized projections. None of the artworks was identified by individual labels. During the exhibition, visitors were asked to complete comment questionnaires. Although many had positive things to say about the image of Africa gained through the exhibition, others expressed dismay at what they saw as negative stereotypes. The severest criticism came from Africans who had not been part of the advisory team. This article analyzes the responses, and questions the way in which one's personal image of Africa, whether one is curator or visitor, acts as mediator of experiences gained from an exhibition.     

Labour's ‘strange blindness’ and the end of Jubilee

ABSTRACT

This essay responds to David Roediger's Seizing Freedom: Slave Emancipation and Liberty for All. After a brief examination of the central themes of the book, I turn to the author's emphasis upon political agency. I argue that this emphasis is necessary, given the political and scholarly aims of the book. At the same time, I suggest that the agency depicted in Seizing Freedom was simultaneously constrained by the cultural, political, and social forces discussed in Roediger's earlier companion volume, The Wages of Whiteness. I end the essay with a short discussion of the labour leader William Sylvis that attempts to synthesize insights from Seizing Freedom and The Wages of Whiteness in order to explain the ‘strange blindness’ that led white labour to systematically ignore and repress the activity of black workers.     

Teaching bioethics as a new paradigm for health professionals

In The Clouds by Aristophanes, Strepsiades brings his son before Socrates so that he could learn Philosophy for he has heard that this science teaches how to overcome the most difficult causes with reasons. And Strepsiades wants his son to learn the art of failing to pay debts. Regarding medical education in our time, Edmund Pellegrino has noted that the educational philosophy of medical schools determines what a "good" physician is. Thus, teaching bioethics to future health professionals makes us face old problems now: What teaching method to choose among all the possible various ones? What should teaching aim at? Which will be our educational philosophy? Therefore I shall introduce here the epistemological basis of our Bioethics teaching program in Argentina and its implementing strategies in the undergraduate curriculum and the post-graduate level.     

Gustav Senn(1875–1945): The pioneer of chloroplast movement research

Gustav Senn analyzed for the first time light-induced movement and arrangement of chloroplasts. Using many plant species he performed physiological analyses of chloroplast migration in response to exte...     

An ambiguity in Habermas’s argument against liberal eugenics

In his book The future of human nature, Jürgen Habermas argues against a scenario of liberal eugenics, in which parents are free to prenatally manipulate their children’s genetic constitution via germline interventions. In this paper, I draw attention to the fact that his species‐ethical line of argument is pervaded by a substantial ambiguity between an argument from actual intervention (AAI) and an argument from mere controllability (AMC). Whereas the first argument focuses on threats for the autonomy and equality of prenatally modified persons, the second argument takes all human beings, whether they have been modified or not, into account. Hence, when invoking Habermas in these debates, bioethicists need to consider carefully which argument they are referring to.     

The medium of signs: nominalism, language and the philosophy of mind in the early thought of Dugald Stewart

In 1792 Dugald Stewart published Elements of the philosophy of the human mind. In its section on abstraction he declared himself to be a nominalist. Although a few scholars have made brief reference to this position, no sustained attention has been given to the central role that it played within Stewart's early philosophy of mind. It is therefore the purpose of this essay to unpack Stewart's nominalism and the intellectual context that fostered it. In the first three sections I aver that his nominalism emanated from his belief that objects of the mind--qualities, ideas and words--were signs that bore no necessary relation to the external objects that they were meant to represent. More specifically, it was these signs that were arranged into systems of thought by the 'operations of the mind'. The next three sections suggest that his treatment of words as signs most probably originated in his views on language and medicine and that his nominalistic philosophy of mind could also be extended to systems that sought to classify the natural world. I conclude by suggesting several avenues of enquiry that could be pursued by future scholars interested in excavating Stewart's thought.     

Welcome to the Club?: A response to The Cross -Border Connection by Roger Waldinger

Roger Waldinger's provocative book on migrants’ cross-border lives corroborates many insights already established by transnational migration scholarship. He makes a compelling case for the need to understand migration not just as assimilation – neo, segmented, or otherwise – but also as about how people continue to be simultaneously involved in their homelands, the countries where they settle, and other salient places. I am glad that Waldinger has lent his voice to correct the unproductive divide between immigration and emigration scholarship. But the ‘new’ path he charts forward to right what he sees as wrong with current scholarship is, at times, so selectively formulated and argued that it undercuts its effectiveness.     

Tusks and tools – Experiments in carving mammoth ivory

In the past, the author replicated several Stone Age art objects, preferentially those made from mammoth tusk, using authentic tools and techniques. This contribution describes the results of his research work and the experiences he collected during the experiments, not only in relation to the material and its properties but also concerning the use of flint tools and their technical aspects. In addition, the author gives a brief overview about his subsequent considerations regarding early artisans, their skills and their social position.     

Two puzzles for Marquis's conservative view on abortion

Don Marquis argues that abortion is morally wrong in most cases since it deprives the fetus of the value of its future. I criticize Marquis’s argument for the modified conservative view by adopting an argumentative strategy in which I work within his basic account: if it is granted that his fundamental idea is sound, what follows about the morality of abortion? I conclude that Marquis is faced with a dilemma: either his position must shift towards the extreme conservative view on which abortion is never morally permissible, or he must abandon any recognizably conservative view. This dilemma suggests that Marquis’s view is either deeply implausible or that he cannot use this argument to successfully support his preferred position.