This issue of the Bucknell Review studies the interrelations among the arts by exploring, comparing, and contrasting the treatment of the "same" subject matter by a poet, a composer, a painter, a novelist, a film director, and a sculptor. It is hoped that these essays will suggest some next steps in the exploration of the arts. Illustrated.

This issue explores the tensions between literature and the sciences, focusing on responses which see science as an alien ideology that threatens everything the arts hold dear, and on a more positive response that sees the sciences as providing new tools, viewpoints, and knowledge about the world.

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century.

Artists and creators in interactive art and interaction design have long been conducting research on human-machine interaction. Through artistic, conceptual, social and critical projects, they have shown how interactive digital processes are essential elements for their artistic creations. Resulting prototypes have often reached beyond the art arena into areas such as mobile computing, intelligent ambiences, intelligent architecture, fashionable technologies, ubiquitous computing and pervasive gaming. Many of the early artist-developed interactive technologies have influenced new design practices, products and services of today's media society. This book brings together key theoreticians and practitioners of this field. It shows how historically relevant the issues of interaction and interface design are, as they can be analyzed not only from an engineering point of view but from a social, artistic and conceptual, and even commercial angle as well.

This book features papers written by renowned international scholars that analyze the interdependence of art, phenomenology, and social science. The papers show how the analysis of the production as well as the perception and interpretation of art work needs to take into consideration the subjective viewpoint of the artist in addition to that of the interpreter. Phenomenology allows a description of the subjectively centered life-world of the individual actor—artist or interpreter—and the objective structures of literature, music, and the aesthetic domain in general. The perspective of social science serves to reconstruct the socio-historical structure involved in the creation and reception of the art work. The authors concentrate on this specific theoretical focus which combines both phenomenology and social science and offers an innovative framework for the analysis of works of art from the fields of literature, music, visual arts, photography, and film. Some of the contributions present creative interpretations of a variety of distinct art works in addition to the realization of theoretical reflections on the interdependence of arts, phenomenology, and social science. This book features papers that were presented at the international and interdisciplinary conference Phenomenology, Social Sciences, and the Arts, held at the University of Konstanz, May 2009, in commemoration of philosopher and social scientist Alfred Schutz, the developer of phenomenologically oriented sociology. It will appeal to researchers, scholars, and students in phenomenology, social sciences, art theory, and the arts. ​