10 resultados para Interpretation (Philosophy) in art

em University of Queensland eSpace - Australia


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This review will critically evaluate two recent texts by white academics working across disciplines of cultural studies, history and anthropology and published by UNSW Press, which share a focus on the relationship between Aboriginality, Philosophy, Place and Time in Australia. I write from the position of a queer white academic committed to engaging politically and intellectually with the challenge of Indigenous sovereignties in this place while also aware that my position as a middle class white woman and intellectual imposes limits on what it is possible for me to know about Indigenous epistemologies (see Moreton-Robinson, 2000). In the course of this review I will demonstrate how anthropology's tendency to fix its objects of study within a circumscribed space of 'difference' limits the capacity of texts produced within this discipline to account for racialized struggles over sovereignty. While these struggles are equally embedded in the ethnographic context and the nation's constitution and political institutions, we will see that Muecke and Bird Rose confront problems in analysing the relationship between the intimate space of the 'field', in which one's research subjects quickly become one's 'friends' and/or 'classificatory kin'—on one hand—and the public space of the nation within which statements about Aboriginality by white academics circulate and are vested with an authority that escapes individual intentions and control—on the other.

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This article addresses the centrality of normativity to IR (International Relations) by engaging in an investigation of the meaning of a 'classical' approach (Bull 1969). It demonstrates how a classical approach, properly understood, might provide common ground for IR theorists. The substantive argument is that IR can benefit from reflection on the classical understanding of the relationship between theory and practice, and in particular on the understanding of this relationship provided by philosophical hermeneutics. Philosophical hermeneutics is an approach to the human sciences informed by Aristotle's conception of a practical philosophy. A practical philosophy in the classical sense sees theory as a moral and political inquiry involving a body of knowledge and a philosophy of practice engaging in reflection upon the nature of the good life and the means to achieve it.

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This article examines the seventeenth-century debate between the Dutch philosopher Benedict de Spinoza and the British scientist Robert Boyle, with a view to explicating what the twentieth-century French philosopher Gilles Deleuze considers to be the difference between science and philosophy. The two main themes that are usually drawn from the correspondence of Boyle and Spinoza, and used to polarize the exchange, are the different views on scientific methodology and on the nature of matter that are attributed to each correspondent. Commentators have tended to focus on one or the other of these themes in order to champion either Boyle or Spinoza in their assessment of the exchange. This paper draws upon the resources made available by Gilles Deleuze and Felix Guattari in their major work What is Philosophy?, in order to offer a more balanced account of the exchange, which in its turn contributes to our understanding of Deleuze and Guattari's conception of the difference between science and philosophy.

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The contemporary directions of art galleries worldwide are changing as social patterns and demands, and visitor expectations of their experiences at art galleries change. New programs and strategies are being developed in galleries to make these institutions more appealing to people who would not normally visit them. One such strategy is the staging of special events, which in galleries take a variety of forms. As special events are increasingly being employed by galleries to inspire new audiences, it is important that these institutions develop an awareness of how their visitors understand and respond to such events. Festivals are one type of special event that visitors identify as having a distinct role and nature. This paper explores visitors’ perceptions of festivals in art galleries and identifies several characteristics that distinguish festivals from other special events. These characteristics include the focus of the event, the audience attending, the degree of interactivity offered, the timing, and the place at which the event is staged. Understanding visitors’ perceptions and expectations of festivals will enable galleries to develop and further enhance their programs and special events to meet visitors’ needs.

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Attempting to solve the complex problems of the 21st century requires research graduates that have developed a sophisticated array of interdisciplinary teamwork and communication skills. Although universities, governments, industry and the professions have emphasised the need to break down disciplinary silos in order to produce graduates, who can respond more effectively to the needs of the knowledge economy, much of this work has centred on undergraduate programs. While there are some research higher degree students who choose to work on interdisciplinary research topics, very little has been done to develop interdisciplinary research education systematically. This paper explores the educational opportunities and dilemmas involved in developing systematic programs of interdisciplinary research activities in two research centres at the University of Queensland. Framed by Bruhn's (2000, p. 58) theoretical discourse about interdisciplinary research as 'a philosophy, an art form, an artifact, and an antidote', this paper emphasises the need for such programs to embed the development of students' interdisciplinary research skills and attitudes within their research projects. The two diverse programs also emphasise experiential, active and interactive learning techniques and are centred upon the development of students' reflective practice skills.