Curtis L. Carter

For readers looking for insights into key issues linking current Eastern and Western views on the arts, aesthetics, and philosophy, Unsettled Boundaries offers fresh and insightful perspectives on current issues as seen by leading Chinese and Western scholars. Represented in the volume are previously unpublished essays of Nöel Carroll, Garry Hagberg, Richard Shusterman, and Jason Wirth alongside writings of Chinese peers Gao Jianping, Peng Feng, Liu Yuedi, Wang Chunchen and Cheng Xiangzhan. The essays in this volume draw attention to evolving cultural and philosophical connections linking the cultures of East and West, while taking note of important differences in the respective cultures. These connections draw upon both traditional Confucian ideas and Chinese Marxist-Leninist aesthetics as well as western pragmatism, somaesthetics, and Wittgenstein-based analytic philosophy. Alongside these philosophical currents, are reflections on issues linking globalization to contemporary Balinese, Chinese, and Japanese arts, by Curtis Carter, Stephen Davies, Garry Hagberg, and Mary Wiseman.

In this article, Carter tells the weaving tale of the globalization of art and the interplay between eastern and western contemporary art. Carter sketches out the history of contemporary art in China with a keen eye towards the interplay between Chinese artists and the various western influences over time, such as the 16th century Jesuit artists, Impressionism, Cubism, Fauvism, and Dada to name a few. This history is marked by a ubiquitous tension as Chinese artists incorporated western innovations into their work, while also maintaining the poetic and literary foundation of Chinese art. Coupling that with the influence of the Cultural Revolution and Soviet realism on the Chinese are world, Carter discusses the tenuous boundaries upon which Chinese art has been and continues to be produced. After considering this history, Carter goes on to analyze the effect Chinese art has on the western art world--both how it shapes the western art world and how this globalization, in turn, shapes Chinese art. In navigating this boundary, Carter explains how Chinese artists find mediate appealing to a global audience while maintaining their Chinese roots. Carter concludes this essay by considering the economic success of Chinese art in the west and drawing attention to the negotiations still taking place today between local culture/global culture, tradition/innovation and authenticity/market appeal.

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television's conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the Korean American Nam June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art's growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising.

What are Eric Mullis’s contributions to a pragmatist philosophy of dance? First, the work brings attention to aspects of dance in regional and religious contexts and to a selection of religious dance practices not typically addressed in the literature of dance philosophy, thus adding to the current scope of dance studies. This book’s main strength with respect to pragmatist philosophies is its efforts to apply existing theories of pragmatism to aspects of dance in a particular regional setting. This task is accomplished with three aspects of the research: ecological study of Pentecostal dance, pragmatism in a selection of its manifestations with connections to philosophies of dance, and performance. In the final chapter, the scope is broadened with summary references to alternative theories of dance philosophy and their interdisciplinary relations to dance studies using pragmatist philosophies. The remainder of this essay examines selection of past and current studies that inform the state of dance philosophy with the aim of gathering a broader perspective on the state of dance philosophy. While there is no established long-term tradition of dance philosophy, a generation of twentieth-century scholars—Cohen, Arnheim, Sparshott, Goodman, Van Camp, Banes, Carroll, McFee, Foster, and Fraleigh, among others—has advanced recent philosophical discussion of dance. Joining these are contemporary writers on philosophy of dance, such as Anna Pakes.

Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of the museum. His performance work, "Hockey Seen: A Nightmare in Three Periods and Sudden Death embodies his aesthetic theories.