Dr. David Goldblatt

Dr. David Goldblatt

Emeritus Professor of Philosophy/Philosophy department/Denison University/Granville, Ohio 43023


EDUCATION:

  Ph.D. in Philosophy, University of Pennsylvania, 1972
  B.A. Philosophy, Brooklyn College, Ciity University of New York, 1963 Honors in Philosophy (John Pickett Turner award)
  Pratt Institute of Technology (School of Architecture), 1958-1961.


NOTE: Click on the aqua colored (this color) hyperlinks, or the book covers, for more information about that item.


TEACHING EXPERIENCE:

Shiny round purple button bullet Denison University, Philosophy department, 1968-2004
Shiny round purple button bullet University of Pennsylvania, Teaching Fellow and Instructor, 1964-1968


SELECTED PUBLICATIONS (2000-2018): (Click on Book cover or title as a hyperlink)

Shiny aqua bulllet 16 pt  Jazz and the Philosophy of Art with Lee B. Brown and Theodore Gracyk, Routledge, 2017 or Jazz & the Philosophy of Art at Amazon

 

Aesthetics: A Reader in Philosophy of the Arts book cover

Shiny aqua bulllet 16 pt  Aesthetics: A Reader in Philosophy of the Arts, 4th Edition, edited with Lee B. Brown and Stephanie Patridge, Routledge, 2017

 

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Shiny aqua bulllet 16 pt  “Seeing Stars: The Reception and Ontology of Movie Stars.” In Wittgenstein on Aesthetic Understanding, Garry Hagberg, ed. Palgrever Press, Philosophers in Depth Series, 2017

 

 

 

 

 

 

Shiny aqua bulllet 16 pt  “The Extended Body and the Aesthetics of Merleau-Ponty,” Evental Aesthetics, Volume 5, Number 1, pp. 25-46, 2016

ABSTRACT of “The Extended Body and the Aesthetics of Merleau-Ponty”: “An extended “restless” body was the center of perceptual and ontological importance for Merleau-Ponty — a source of insight into how persons navigate and understand the world. But he was sufficiently aware as well of the roles an extended body played in art. This paper considers two stages in Merleau-Ponty’s work, roughly corresponding to his early and late writings, where the boundary between body and world can be flexible and complex but where the body’s extension is artistically significant. After Fred Rush’s coinage of “prosthetic effect,” I utilize prosthesis metaphorically to illustrate the use of an extended body in the production and reception of art when the world demands an immediate response and the imposition of engagement and where the potential for aesthetic identification has greater explanatory power as a unit than as a body separate from that environment. The second use deals with Merleau-Ponty’s more difficult notions of flesh and chiasm to consider an intersecting world unfolding itself — reversing the direction of the usual dialogue between artist and a soliciting world, as Merleau-Ponty sees it. In the course of doing so, this essay includes a discussion of Paul Klee’s painting, The Ventriloquist in the Moors, Descartes on phantom limb pains and artistic identity. While technology has fostered digital devices, which appear as prostheses and form significant aspects of our culture, Merleau-Ponty had imagined our extended bodies in more ubiquitous and quotidian ways.”

Shiny aqua bulllet 16 pt  “Modern to Postmodern Architecture,” Entry for the Oxford University Encyclopedia of Aesthetics, Revised and expanded for the 2nd edition, 2018

 

Shiny aqua bulllet 16 pt   “Nonsense in Public Places: Black Vocal Rhythm and Blues or Doo Wop,” in the Special Issue, “Song, Songs, and Singers,” John Andrew Fisher and Jeanette Bicknell, guest editors, The Journal of Aesthetics and Art Criticism, Vol. 71 No. 1, Winter 2013

 

Shiny aqua bulllet 16 pt  “Urban Shanties: Improvisation and Vernacular Architecture,” Evental Aesthetics, “Art and the City,” Vol. 1 No. 3 2012, pp. 90-112

 

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Contemporary Aesthetics, Vol. 9, 2011

Shiny aqua bulllet 16 pt  “Taking Art Personally:  Austin, Performatives and Art,”
Contemporary Aesthetics, Vol. 9, 2011

ABSTRACT of “Taking Art Personally: “Austin, Performatives and Art”: “This paper is an attempt to apply speech act theory to aesthetics. In particular, it purports to be a contribution to reception theory by drawing attention to certain similarities between the contextual structure of performatives and the structure of the reception of art. It hopes to locate the auditor or spectator of artworks in what J. L. Austin calls “the total context” to help explain how certain aspects of artworks can be taken personally, somehow being about and seemingly directed at “me.” It is one way the so-called paradox of fiction can be by-passed by showing how the emotive aspects of artworks are not primarily a matter of our caring about the fictional characters portrayed therein, but directly about members of the viewing or listening audience. Concentrating on the performatives of warnings and threats, this paper details the writings of Austin to help explain why some people can relate to characters or situations presented by art while others are barely moved.”

 

Art and Expression by Sukla cover with other books

Shiny aqua bulllet 16 pt  “Expression and Communication: A Socratic Theory of Inspiration,” in Art and Expression: Contemporary Perspectives in the Occidental and Oriental Traditions, Ananta Charan Sukla, editor, Verlag Truaugott Bautz GmbH, 2011

Shiny aqua bulllet 16 pt   “In and Out of Movies: Incarnation and Personal Identity” for a Special Forum on “Communication as Incarnation” in The Journal of Communications and Critical/Cultural Studies, Volume 8, Issue 2, July, 2011  Communication and Critical/Cultural Studies book cover

ABSTRACT of “In and Out of Movies: Incarnation and Personal Identity”: “Fiction, particularly movies, enjoys the license to abandon philosophical rigor and play free and loose with issues somewhat related to the traditional personal identity concerns of philosophers. Double-named characters appear frequently in movies raising issues of double-identity to deepen the intrigue of their narratives. This paper explores the 1947 American film noir “Out of the Past,” which depicts the double identity and subsequent incarnation/embodiment of its protagonist by his abandoned past as a private detective who has crossed his gangster employers. In addition, the essay reaches “outside” the film to discuss the use of incarnation in the application of such notions as star or role, by taking as an example, its star Robert Mitchum, which leads us to how forces largely independent of their wills, incarnate certain actors, setting them up outside their films for multiple identities.”

Shiny aqua bulllet 16 pt  Special Issue: The Aesthetics of Architecture: Philosophical Investigations into the Art of Building, edited with Roger Paden, Wiley/Blackwell, Vol. 69 Number 1, Winter 2011; Introductory essay with Paden

THE AESTHETICS OF ARCHITECTURE: PHILOSOPHICAL INVESTIGATIONS INTO THE ART OF BUILDING, Volume 69, Issue 1, Winter 2011, pp. 1-145 book coverThe Aesthetics of Architecture book cover

ABSTRACT of The Aesthetics of Architecture: Philosophical Investigations into the Art of Building: “By some of the top philosophers in the field of aesthetics as well as those in the architectural profession, essays in this book related architecture to other artforms such as photography. literature and painting. relates architecture to other artforms such as photography, literature and painting contains essays by some of the world’s top philosophers works with a diversity of architectural concepts and issues philosophical discussions are generated by professionally designed architectural projects as well as vernacular ones extends the bounds of architectural issues presently discussed by philosophers.”

Shiny aqua bulllet 16 pt  Review:  Edward Winters, Architecture and Aesthetics, Continuum, 2007, in The British Journal of Aesthetics, Vol. 48, No. 2, April 2008

Shiny aqua bulllet 16 pt  Review: The Bureaucracy of Beauty: Design in the Age of its Global Reproducibility by Arindam Dutta, Routledge, 2007; forthcoming in The Journal of Aesthetics and Art Criticism, Summer 2008

 

House and Philosophy book cover House and Philosophy book table of contents

Shiny aqua bulllet 16 pt  “Is there a Superman in the House? A Nietzschean Point of View,” in House and Philosophy, in the Blackwell Philosophy and Popular Culture Series, Blackwell, December 2008

 

“Voice and Void” catalog book cover
“Voice and Void” catalog 2007

Shiny aqua bulllet 16 pt  “Nietzsche and Ventriloquism,”  reprinted in the catalogue for the exhibition “Voice and Void”, at The Aldrich Contemporary Art Museum, Ridgefield, CT, September 2007

 

AD Architecture Design: Elegance book cover

Shiny aqua bulllet 16 pt  “Lightness and Fluidity: Remarks Concerning the Aesthetics of Elegance,” in AD Architectural Design, in special Issue on Elegance in Architecture, January/February 2007

ABSTRACT of “Lightness and Fluidity: Remarks Concerning the Aesthetics of Elegance”: “Over the last century, elegance as a term has been conspicuously absent from discussions centred on both architecture and the philosophy of aesthetics. Elegance’s time has, however, now come. David Goldblatt describes how the maturation of digital discourse has led to the onset of a new, multifaceted, sensual rationality that is evident in recent designs and constructed works.”

Shiny aqua bulllet 16 pt  Review: Christopher J. Emden, Nietzsche on Language, Consciousness, and the Body, Urbana-Champaign: University of Illinois Press, 2005, in Philosophy in Review, October 2006, Volume XXVI, No. 5

 

Art and Ventriloquism by David Goldblatt paperback book cover

Shiny aqua bulllet 16 pt  Art and Ventriloquism, in the series “Critical Voices: Art, Theory and Culture,” Saul Ostrow, series editor; critical essay by Garry L. Hagberg, Preface by Saul Ostrow, Routledge 2005

 

Bob Dylan and Philosophy book cover

Shiny aqua bulllet 16 pt  “Language on the Lam(b): Tarantula in Dylan and Nietzsche,” Bob Dylan and Philosophy, with Edward Necarsulmer IV, Eds. Peter Vernezze and Carl J. Porter, Open Court, January 2006

Shiny aqua bulllet 16 pt  ”Cavvellian Conversation and the Life of Art,” Philosophy and Literature, Vol. 29, No. 2, October 2005.

Shiny aqua bulllet 16 pt  Book Review: The Dynamics of Delight: Architecture and Aesthetics by Peter F. Smith, The Journal of Aesthetics and Art Criticism, Vol. 63. No. 3, Summer 2005

 

What is Architecture? book cover

Shiny aqua bulllet 16 pt  “The Dislocation of the Architectural Self,” in What is Architecture?, Andrew Ballantyne, editor, Routledge 2001. This is an updated and revised essay of one previously published in The Journal of Aesthetics and Art Criticism

ABSTRACT of “The Dislocation of the Architectural Self”: “Enjoying a mild rejuvenation on the contemporary American drug scene, our word ‘ecstacy,’ like the English words ‘derange’ and ‘delirium,’ has its history in spatial terms. The Greek ecstasis meaning to put outside, to put out of place, led to the notion of being besides oneself, of being transported. In moral theory (I have Kant in mind) the idea of acting against ourselves is often seen as imperative and the problem of distancing, if not removing ourselves from our passions and other inclinations, is compounded by our own questionable ability to recognize just when we have succeeded. In art, too, ecstasis has had its own place, especially as the self encounters itself as quotidian being. In this paper I will discuss what I believe is the role of ecstasis in recent architectural practice, specifically in the work of the American architect Peter Eisenman.”

 

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Shiny aqua bulllet 16 pt  “Robert Venturi,” for the Encyclopedia of American Studies, a four-volume set by Grolier Publishing for the American Studies Institute, 2000

Shiny aqua bulllet 16 pt  Many publications between 1984 and 2000 omitted

Shiny aqua bulllet 16 pt  Review: The Transfiguration of the Commonplace, by Arthur Danto, Arts + Architecture, Vol. II, No. 3, 1984.

Shiny aqua bulllet 16 pt  “Self Plagiarism,” The Journal of Aesthetics and Art Criticism, Volume 43, No. 1, Fall 1984

Shiny aqua bulllet 16 pt  “Aesthetic Pregnancy,” The Personalist, Vol. 60, No. 4; October 1979

Shiny aqua bulllet 16 pt  “Do Works of Art Have Rights?,” The Journal of Aesthetics and Art Criticism, Volume 35, No. 1; Fall 1976


SELECTED PRESENTATIONS (2000-2017):

Tiny yellow round bullet  “Dancing, Dwelling and Jazz,” With Theodore Gracyk, At the Annual meetings of the American Society of Aesthetics, New Orleans, November 2017

Tiny yellow round bullet  “Defining Jazz Historically,” With Ted Gracyk, at the Pacific Meetings of the American Society for Aesthetics, Asilomar, Conference Grounds, Pebble Beach California, April 2017

Tiny yellow round bullet  “Wittgenstein, Games and Art” at the American Society for Aesthetics, San Antonio, November 2015

Tiny yellow round bullet  “An Approximate Aesthetic of the Absence and presence of Glass in Architecture,” at the Pacific Division of the American Society for Aesthetics, Asilomar, California, 9 April 2014

Tiny yellow round bullet  “Seeing Stars: The Reception and Ontology of Movie Stars.” At Brooklyn College of the City University of New York, 5 November 2013.  On the Occasion of the first Alumni speaker for the Brooklyn College Legacy Project.

Tiny yellow round bullet  “Movie Stars:  External Embodiment in Mass Art,” presented at the Dubrovnik Conference on Aesthetics, Dubrovnik, Croatia, 23-26 April 2012.

Tiny yellow round bullet  “Extended Embodiment, Ventriloquism and the Prosthetic Identification of Persons,” presented at the American Society for Aesthetics, Pacific Division meeting, April 11, 2012, as part of a panel on “Aesthetic Properties of Persons”

Tiny yellow round bullet  “Prosthetics, Ventriloquism and Artistic Identity in Merleau-Ponty,” presented at the Annual Meetings of the American Society for Aesthetics, October 2011; Tampa, Florida

Tiny yellow round bullet  “Kivy, Aumann, Kierkegaard and the No-Paraphrase Thesis” a reply to Anthony Aumann, at the annual meetings of the American Society for Aesthetics in Victoria, British Columbia, October 29, 2010.at the annual meetings of the American Society for Aesthetics in Victoria, British Columbia, 29 October 2010

Tiny yellow round bullet  Lecture commemorating the 30th anniversary of the Department of Communications, The University of Montreal, “Conversation: Ventriloquism, Prosthesis, art; 15 April 2010

Tiny yellow round bullet  “Improvisation and Architecture,” at the meetings of The American Society for Aesthetics, October 2009, Denver, Colorado.

Tiny yellow round bullet  “Performatives in the Visual Arts: The Illocutionary Forces of Art and Architecture,” at the XVI International Congress of Aesthetics, Rio de Janiero, July 2004

Tiny yellow round bullet  Response to Larry Shiner’s “Architecture vs. Art: The Ethos of Museum Design,” The American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, March/April 2004

Tiny yellow round bullet  Response to Barbara Savedoff’s “Abstract Photography: Identifying the subject,” The American Society for Aesthetics, San Francisco, October/November 2003

Tiny yellow round bullet  “The Contingent Relationship between Ventriloquism and Humor;” at the International Association of Humor Studies, The University of Bologna, Bologna, Italy, July 2002

Tiny yellow round bullet  Two lectures invited by the Department of Art at the Emporia State University, Emporia Kansas, October 2000: 1) “Architecture and Deconstruction,” a general (attendance required by all art classes) lecture on the history of 20th century architectural theory and how architecture and philosophy tend to merge in deconstruction.  2) a colloquium paper on, “Ventriloquism and Art: Making Things Talk”

Tiny yellow round bullet  Taught at Zhejiang University of Technology, Hangzhou, China, and frequently lectured at colleges, private organizations and city councils on architecture and American culture generally, 2000-2001

Tiny yellow round bullet Many presentations between 1976-2010 omitted


GRANTS:

Shiny Round Gray Bullet  Andrew W. Mellon Foundation Grant: “Memory and Monumentality: Ethnic Identity in Western China and Inner Mongolia,” June 2005 in China 🇨🇳

Shiny Round Gray Bullet  Robert C. Good Fellowship for 2004-2005 to write on art and performatives

Shiny Round Gray Bullet  Ford Foundation Grant for writing on contemporary architecture in China: Shanghai and Hangzhou, 2000

Shiny Round Gray Bullet  China Seminar, 1997-1998, The Ford Foundation, ASIANetwork, St. Olaf College, Summer 1997; in China, Summer 1998

Shiny Round Gray Bullet  Robert C. Good Fellowship for work on ventriloquism as an aesthetic metaphor, 1996

Shiny Round Gray Bullet  National Endowment for the Humanities, 1991, Summer Institute, San Francisco State University, “Philosophy and the Histories of the Arts,” Arthur Danto and Donald Crawford, resident directors 

Shiny Round Gray Bullet  National Endowment for the Humanities, 1988, Summer Institute, The Johns Hopkins University, “Image and Text in the Eighteenth Century,” Ronald Paulson and Michael Fried, directors

Shiny Round Gray Bullet  Robert C. Good Fellowship for work in philosophy of architecture, Spring 1988, at the Graduate School of Design, Harvard University; 1996

Shiny Round Gray Bullet  Denison University Faculty Development, 1992 (with D. Bussan), 1991 (with A. Lisska), 1990, 1986, 1982, 1976

Shiny Round Gray Bullet  Occasional Fellowship, University of Chicago, Spring 2003, Spring 1989, Spring 1983, Fall 1981

Shiny Round Gray Bullet  Ohio Arts Council Grant for writing fiction, 1983-1984

Shiny Round Gray Bullet  Ohio Arts Council Grant “Mini-Grant” for writing fiction, 1982

Shiny Round Gray Bullet  Great Lakes College Association (GLCA) travel grant in 1980 to Bogota, Colombia 🇨🇴

Shiny Round Gray Bullet  National Endowment for the Humanities, 1977, Summer Seminar, “Representation and Reality: Language, Mind and Art,” Columbia University, Arthur Danto, director


OTHER:

Shiny Dark Blue Button Bullet  Architectural Juror, The Graduate School Of Design, University of Pennsylvania, 2017

Shiny Dark Blue Button Bullet  Board of Directors: Contemporary Aesthetics, 2012-2018

Shiny Dark Blue Button Bullet  Advisory Board Member, Contemporary Aesthetics, 2008

Shiny Dark Blue Button Bullet  Co-editor The Newsletter of the American Society for Aesthetics, 2009-2017

Shiny Dark Blue Button Bullet  Copy for Dewer’s on-line advertising, through Shift Global, Columbus, Ohio

Shiny Dark Blue Button Bullet  Critic and Commentator, Fall Faculty Art Exhibit, The Ohio State University

Shiny Dark Blue Button Bullet  Architectural critic: the Graduate School of Architecture, the University of Pennsylvania, Philadelphia, May 2000

Shiny Dark Blue Button Bullet  Architectural Juror: The Graduate School in Architecture, The University of Michigan, Ann Arbor; December 1997

Shiny Dark Blue Button Bullet  Creative Blackbook International Representative and Coordinator; Zurich 1978, London 1979

Shiny Dark Blue Button Bullet  Director, Tuthill-Gimprich Gallery, SoHo, New York City, 1979

Shiny Dark Blue Button Bullet  Participating Faculty, Architectural Design Studio, with Peter Eisenman, The Ohio State University, Spring 1989, Fall 1989

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