- He is currently co-editing the book Justice Beyond Consensus: Distributive Solutions to the Problems of Pluralism
and Conflict, with Manuel Knoll and Nurdane Șimşek.
The theme of this volume takes as its point of departure the well-established conviction that fundamental disagreements
exist in our notions of social and political justice. The volume strives for a deeper understanding of the irreconcilable
plurality of historical and contemporary conceptions of justice while investigating the reasons for the fundamental opposition
of the existing moral intuitions and conceptions of justice. The volume’s aim is to question whether these reasons
are social, cultural, psychological, historical, or even biological. De Gruyter Press will be publishing the volume in 2016.
The conference starts with the question of whether consensus on justice is possible, focusing on the relation between
conceptions of justice and images of humanity. In addressing these questions, the conference aimed at a fuller understanding
of the concept of justice as well as the human ‘sense of justice’, which can be achieved beyond the idea of consensus.
He made the following presentations on the topic:
Worldview and Changing Perspectives in Art:
The End of Art – Changes in 20th Century Art
He has completed a manuscript, titled The End of Art and the Dialectic of Imagination, which is under review with Palgrave
The manuscript takes as its starting point the end-of-art theories of Hegel, Nietzsche and Danto. The point of the book is
not to refute the end-of-art thesis. Rather, the text isolates reasons in the philosophies of the thinkers discussed pointing
to the conclusion that art has ended. The cause is found in philosophy’s relationship to the aesthetic experience. The
manuscript offers a solution, drawing on Habermas’ early critical hermeneutic engagement with Danto’s philosophy
of history. Habermas, like Danto, was trying to salvage something useful in Hegel’s philosophy without adopting his
problematic metaphysics. The argument concludes that Danto’s system does not work without some modification, and the
problem can be traced to the narrative foundation of a basically Hegelian theory of embodied meaning. The conclusion, loosely
following Habermas’ communicative turn, is that the problem can be resolved by showing that art’s philosophical
nature is found in artist-beholder interaction, not its essence. Thus, art is a form of visual communication, a language of
disclosure, which embodies at least some of the rational structures philosophy claims as its own.
Presentations summarizing the main themes of his ms were given at:
(See Conferences tab for details)
- Boğaziçi University Faculty Colloquium in Istanbul
- The National Gallery of Art in Amman, Jordan
- Dubrovnik Inter-University Centre Philosophy of Art Conference
- APA Central Division Meeting, Chicago
- International Literary Criticism and Theory Conference Series: Style in Theory/Styling Theory, University of Malta
- International Conference on the Aesthetic Dimensions of Visual Culture, Charles University, Prague
- ASA Annual Meeting, Milwaukee & Los Angeles
- International Congress for Aesthetics in Ankara, Turkey
- Critical Issues Conference on Visual Literacy, Mansfield College, Oxford, UK
- Online Conference in Aesthetics: Arthur Danto’s Transfiguration of the Commonplace - 25 Years Later
Late Antique Eastern Roman and Byzantine Art
The main focus of this work entails the application of his communicative theory of art to the morphological shift that occurred
as Byzantine art emerged from the art of late antiquity. This research project has been funded by grants from Fatih University.
His research projects have taken him to Antakya, Gaziantep and Midyat in eastern Turkey to photograph mosaics, art and architecture
of the second sophisticate and late antiquity. He has traveled often to Jordan to study late antique and early Byzantine art
- Specific topics include:
- A study, using examples of art and sculpture found in the Eastern Orthodox and Roman world, of how artistic developments
in the image of fortune from the 1st to 6th c. find parallels in the philosophical texts of Cicero and Boethius.
- Accepting that the choice of a frontal style by the late antique Romans represented a rejection of classical paganism,
I argue that for artists and viewers the use of stylistic perspectives linked to different eras articulated resistance in
art. I apply this theory in the examination of a unique version of the icon of Saint George killing Emperor Diocletian.
He has presented on the topic in the following conferences/forums:
(See Conferences tab for details)
- Annual Conference of the Society for Intercultural Philosophy, Vienna
- Georgian National Centre of Manuscripts, Tbilisi
- College Art Association Conference in Los Angeles in the Expanding the Boundaries of Rome: New Research in Early and Late
Roman Art session
- Philosophy of Art conference at the Inter-University Centre in Dubrovnik, Croatia (2012 and 2013)
- International Congress for Aesthetics in Krakow, Poland
- Co-presented with Graydon Snyder, Archaeology/American Schools of Oriental Research, a section of the Central States SBL
Meeting, St. Louis