Vor etwa einem Jahrhundert entwickelte sich im deutschsprachigen Raum imRahmen einer allgemeinen Charakterisierung unserer ästhetischen Erfahrungvon Kunst eine umfassende Debatte über die Natur und die Möglichkeit vonGefühlen über fiktionale Charaktere und Situationen. Die damalige Debatteweist große Ähnlichkeit zur heutigen analytischen Debatte über das Paradoxonder Fiktion auf. Trotz des unterschiedlichen jeweiligen historischen Kontextesfindet sich in der analytischen Debatte und in der Philosophie zu Beginn des20. Jahrhunderts fast der gleiche Lösungsansatz. Gefühle über Fiktionen seienQuasi-Gefühle, d.h. ein gefühlsartiges Phänomen mit einer Realität sui (...) generis ,dem im Unterschied zu den wirklichen Gefühlen kein Urteil über die Existenzdes Objektes zugrunde liegt und dem die Verbindung zur Motivation fehlt. Zieldieses Aufsatzes ist es, eine Untersuchung der These der Quasi-Gefühle An-fang des 20. Jahrhunderts zu unternehmen sowie die Analogien zur heutigenDebatte zu zeigen. Der Aufsatz baut sich um drei thematische Achsen herumauf. Zunächst wird eine historische Darstellung der These der Gefühle über Fiktionen bei Groos, Lipps, Lange, Geiger und Külpe unternommen. Diese bil-det den Rahmen für die Debatte über die Quasi-Gefühle in der Grazer Schule.Anschließend wird die Aufmerksamkeit auf die Diskussion über Quasi-Gefühle bei Meinong, Witasek, Saxinger und Schwarz gerichtet. Zuletzt wer-den die Berührungspunkte zur heutigen analytischen Debatte im Ausgang vonsystematischen Fragen aufgezeigt. (shrink)

I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...) influenced by Kant’s claim that aesthetic pleasure is orthogonal to desire-satisfaction—becomes decoupled from his (further) Kantian view that aesthetic play essentially involves a harmony of sensuous receptivity and rational spontaneity. The result, I suggest, is a self-standing opposition between desires and passions. This motivates a recognizably Romantic vision of aesthetic disinterestedness, as freedom from desire realized in a state of creative determination by passion. (shrink)

On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy between (...) how attention is guided in appreciation and how practical action is guided in ‘striving play’—a mode of game play recently foregrounded in the philosophy of games. On the resulting account, appreciation involves an ‘inverted’ motivational structure: the appreciating agent's attention is guided by cognitive goals taken up instrumentally, for the sake of the cognitive activity that results from attending under the guidance of those goals. (shrink)

This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...) is its capacity to elicit from a suitably well-informed consumer a specific kind of pleasure. (shrink)

The structure of the next three chapters owes much to Kant's four great definitions of ‘beauty’ found with his Critique of Judgement, in the ‘Analytic of the Beautiful’ (1952, §§1–22). The first pa...

No matter how unintuitive it might seem that aesthetic pleasure should be the point where art and morality meet, this is a noteworthy possibility that has been overshadowed by aestheticians’ more visible concerns. Here I briefly survey relevant strands in the literature over the past century, before introducing themes covered in this inaugural issue of Australasian Philosophical Review.

ABSTRACT: Aesthetic disinterestedness is one of the central concepts in aesthetics, and Jerome Stolnitz, the most prominent theorist of disinterestedness in the 20th century, has claimed that (i) ancient thinkers engagement with this notion was cursory and undeveloped, and consequently, (ii) the emergence of disinterestedness in the 18th century marks the birth of aesthetics as a discipline. In this paper, I use the extant works of Epicurus to show that the ancient philosopher not only had similar concepts, but also motivated (...) them in careful and complex ways. I argue that, in the Epicurean theoretical framework, arts belong to the category of ‘merely natural’ desires, and this classification, combined with what we know of Epicurus’ rejection of art criticism, shows he had carefully worked out reasons supporting the idea that art ought to be approached terminally, rather than instrumentally. Finally, I compare the notion of aesthetic disinterestedness with Epicurus’ views on arts and argue that in many ways the latter are not inferior to the former, and therefore ought to belong to the history of aesthetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Context Building and Educating Imaginative EngagementDavid E. W. Fenner (bio)IntroductionIn my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward (...) depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context is objective—such as the physical conditions surrounding and history concerning the aesthetic object—the majority of it is subjective, and I want to take another step and say that the majority is psychological.1 Aesthetic attenders bring to aesthetic experiences thick sets of background beliefs, personal associations, taste preferences, attitudes, and values—and this is not to mention the more temporal items like how they feel on the day or whether they are attending alongside friends, relatives, or colleagues. Hundreds of psychological factors result in differences in aesthetic experience; this is most likely true of all experiences, but it is even more the case in aesthetic experience and those kinds of experiences that set the occasions for attenders to think, feel, consider, spend time with, introspect, and be in a relationship—subject and object—that is distinct from the ordinary and the routine.Attenders can employ a single lens or multiple ones. It is entirely possible to attend in the absence of the employment of any lens—a purely disinterested or purely formalist perspective would be such a thing—but the vast majority of aesthetic attenders bring with them layers of lenses through which they naturally, nontheoretically (which is not to say noncognitively) view objects. On different occasions, given particular objects and particular subjects, the subject may view an aesthetic object from an art historical [End Page 109] perspective (whether or not the object is an art object); a moral perspective; a cultural, political, or national perspective; a social, class, race, ethnic, or gender perspective; a religious or spiritual point of view; an emotional point of view; a point of view colored by personal associations, personal history, personal identification, personal preference; and on and on.2 Sometimes the employment of lenses is distracting, and sometimes the experience is less than positive given such employment. But (1) many times—I want to say most times—the employment of such lenses results in a richer and more meaningful experience, and (2) it is the natural stance. Adopting a noncontextualized perspective requires conscious volitional effort. Seeing through particular psychological lenses is the default.I want to focus in this paper on a kind of perspective, a kind of psychological context, that has not been much discussed: I will call it aesthetic engagement preparation. Essentially, this has to do with the level of readiness that the subject possesses for engaging with particular objects aesthetically. To engage in a way that will provide a good return on her investment of attention, the subject must be open to the object, must be comfortable with the objective context, must be ready to enter into a relationship with the object—a relationship that may be psychologically associational in all sorts of ways (affectively, cognitively, and so forth)—and must be ready to employ a range of lenses, like the ones described above, to get the most out of her experience. Again, those who advocate noncontextualized (disinterested or formalist) approaches—Shaftesbury, Hutcheson, Addison, Kant, Schopenhauer, Wilde, Whistler, Wimsatt, Greenberg, Brooks, Wolfflin, Bell, Moore, Bullough, Hanslick, Ortega y Gassett, Fry, Hampshire, Stolnitz, and Zangwill, just to name a few—will find aesthetic engagement preparation not only unnecessary but counterproductive. However, given its efficacy for enhancing actual aesthetic experience, I take this as a sign that these noncontextualists may have been on the wrong path. But of course this is an empirical question, and certainly there are cases—though rare, I claim—where employment of aesthetic lenses results in a less positive experience than otherwise.What I will try to do in this paper is to demonstrate (1) the scope of aesthetic engagement preparation on... (shrink)

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and utility, (...) and it does not entail a passive subject abstracted from who they are. This standpoint is compatible with a 'situated aesthetic' in which appreciation of aesthetic qualities is grounded in an embedded subject who is sensitive to the context and narrative of the object. The alternative model provides a conception of aesthetic value which distinguishes it from amenity value, and it also defines a non-instrumental approach that offers the opportunity for enhanced appreciation and attention to nature's value. (shrink)

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...) critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.

Résumé Si l’absence de moralité des psychopathes a été largement étudiée, il existe peu de recherches sur leurs capacités esthétiques. Pourtant, beaucoup d’études cliniques de cas montrent qu’ils présentent un grave déficit dans ce domaine. Cet article se propose d’en chercher les causes. Il analyse les forces et les limites de l’hypothèse d’un manque d’empathie pour expliquer ces carences esthétiques, et montre pourquoi l’hypothèse d’un manque de distance psychique se révèle plus féconde. Celle-ci permet en outre de comprendre le lien (...) de l’esthétique et de l’éthique par leur filiation commune : elles ont pour socle commun la capacité à prendre de la distance par rapport à des intérêts étroitement égoïstes. (shrink)

In paragraph 48 of the Critique of Judgment, Immanuel Kant claimed that ‘only one kind of ugliness cannot be represented in accordance with nature without destroying all aesthetic satisfaction, hence artistic beauty, namely that which arouses disgust.’ However, from Baudelaire to Damien Hirst, there have been artists who delight in arousing disgust through their works, and many of these disgusting works, such as Baudelaire's Une Charogne, have high aesthetic merit. In her splendid new book, Savoring Disgust, Carolyn Korsmeyer rejects Kant's (...) suggestion and argues that there is something called ‘aesthetic disgust,’ that is, ‘the arousal of disgust in an audience, a spectator, or a reader, under circumstances where that emotion both apprehends artistic properties and constitutes a component of appreciation.’. (shrink)

Ordinary Language Philosophy has largely fallen out of favour, and with it the belief in the primary importance of analyses of ordinary language for philosophical purposes. Still, in their various endeavours, philosophers not only from analytic but also from other backgrounds refer to the use and meaning of terms of interest in ordinary parlance. In doing so, they most commonly appeal to their own linguistic intuitions. Often, the appeal to individual intuitions is supplemented by reference to dictionaries. In recent times, (...) Internet search engine queries for expressions of interest have become quite popular. Apparently, philosophers attempt to surpass the limits of their own linguistic intuitions by appealing to experts or to factual uses of language. I argue that this attempt is commendable but that its execution is wanting. Instead of appealing to dictionaries or Internet queries, philosophers should employ computer-based linguistic corpora in order to confirm or falsify hypotheses about the factual use of language. This approach also has some advantages over methods employed by experimental philosophers. If the importance of ordinary language is stressed, the use of linguistic corpora is hardly avoidable. (shrink)

Alcune opere d'arte manifestano (o suggeriscono di assumere) prospettive morali dubbie e, in certi casi, chiaramente deprecabili. Ad esempio, il documentario propagandista Il Trionfo della Volontà di Leni Riefensthal esprime (e cerca di evocare) ammirazione nei confronti di Adolf Hitler. Nonostante ciò, Il Trionfo della Volontà è considerato un capolavoro nel genere dei documentari. Questo e molti altri esempi simili suggeriscono le seguenti domande: É possibile considerare un'opera d'arte un capolavoro artistico e, allo stesso tempo, un esempio di immoralità? La (...) valutazione morale di un'opera d'arte influisce o dovrebbe influire sulla valutazione artistica dell'opera? (shrink)

Desde una perspectiva matricial de la cultura, la autora aborda el estudio de las identidades sociales en su dimensión estética. La presentación dramatúrgica de la persona propuesta por Goffman adquiere un perfil más concreto al enfocar a las identidades a partir de sus procesos de gestación y proyección, pues nunca brotan en el vacío sino a través de matrices que ineludiblemente las conforman. Mandoki explora identidades colectivas religiosas como la cristiana, la musulmana y la judía, así como prácticas familiares, escolares, (...) artísticas y médicas donde la estética opera con todo su poder de seducción, repulsión, cohesión o distinción. Ello implica no sólo que cada sujeto despliega identidades diferentes según las matrices en que se ubique y con cuyos símbolos se identifica, sino que lo realiza por medio de estrategias estéticas que suministran la adherencia efectiva. (shrink)

Aesthetic transfiguration, as described by Nietzsche, is the capacity of art to alchemize the meaningless sufferings of natural existence into the aesthetically magnificent struggle that is human ‘life’. Like Nietzsche, Schopenhauer assessed ‘art from the perspective of life’. As Schopenhauer is standardly read, however, his conception of aesthetic experience has little in common with that offered by Nietzsche. Against the standard reading, this chapter argues that Nietzsche’s psychology of aesthetic experience—and in particular his idea that aesthetic transfiguration invests human experience (...) with positive value—is essentially an elaboration of insights owed to Schopenhauer. (shrink)

Introduced into the philosophical lexicon during the Eighteenth Century, the term ‘aesthetic’ has come to be used to designate, among other things, a kind of object, a kind of judgment, a kind of attitude, a kind of experience, and a kind of value. For the most part, aesthetic theories have divided over questions particular to one or another of these designations: whether artworks are necessarily aesthetic objects; how to square the allegedly perceptual basis of aesthetic judgments with the fact that (...) we give reasons in support of them; how best to capture the elusive contrast between an aesthetic attitude and a practical one; whether to define aesthetic experience according to its phenomenological or representational content; how best to understand the relation between aesthetic value and aesthetic experience. But questions of more general nature have lately arisen, and these have tended to have a skeptical cast: whether any use of ‘aesthetic’ may be explicated without appeal to some other; whether agreement respecting any use is sufficient to ground meaningful theoretical agreement or disagreement; whether the term ultimately answers to any legitimate philosophical purpose that justifies its inclusion in the lexicon. The skepticism expressed by such general questions did not begin to take hold until the later part of the 20th century, and this fact prompts the question whether (a) the concept of the aesthetic is inherently problematic and it is only recently that we have managed to see that it is, or (b) the concept is fine and it is only recently that we have become muddled enough to imagine otherwise. Adjudicating between these possibilities requires a vantage from which to take in both early and late theorizing on aesthetic matters. (shrink)

The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...) Thus aesthetic appreciation, for example, has creative, objective, and performative aspects. This situation of four factors, together with social, cultural, technological, and historical influences on them, is called the aesthetic field. Although the factors are theoretically distinguishable, they are experienced as a unity. It is important, therefore, not to confound the theoretical explanation of aesthetic experience with the experience, itself. The aesthetic field has important implications for understanding the various individual arts, new developments in the arts, and the critical appraisal of the arts. Moreover, the concept transforms traditional issues in aesthetics. (shrink)

The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness – the experiential quality of subjective awareness – as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence (...) of something like phenomenal consciousness in an otherwise completely material universe and (b) the role of consciousness in injecting meaning and value in an otherwise brutally factual reality. (shrink)

The aim of this article is to argue that what is distinctive about aesthetic experiences has to do with what we do -- not with our perception or evaluation, but with our action and, more precisely, with our interaction with whatever we are aesthetically engaging with. This view goes against the mainstream inasmuch as aesthetic engagement is widely held to be special precisely because it is detached from the sphere of the practical. I argue that taking the interactive nature of (...) aesthetic experiences seriously can help us to understand some of the most important features of aesthetic experiences and the role they play in our life: their normativity, their crucial role in the ways in which the aesthetic domain looms large in our self-image and in the social dimension of aesthetic engagement. (shrink)

Critical commentaries on the burgeoning industry of sports betting have focused on either its potential (i) to promote problem gambling or (ii) to encourage betting-related corruption. In this paper we explore a third and distinct line of inquiry according to which sports betting is of considerable moral concern insofar as it undermines the ideals of sport by transforming the manner and modes in which spectators engage with and value sports. Technological, cultural and legal changes have led to greater integration between (...) many sporting leagues and gambling practices. Elite sport has long been commodified; however, we argue that such integration should be understood as a form of ‘hypercommodification’. By analysing sports betting as a form of hyper-commodification, we argue that it may promote objectionable instrumental modes of regard towards sport among individual spectators and fans. We also argue that increasing integration between sports and gambling practices may undermine the social conditions required to express appropriate modes of valuation towards sport. (shrink)

The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...) disinterested pleasure. In the second part, disinterested pleasure is investigated in the light of contemporary debates on beauty. The third part is dedicated to the relation of theories of disinterested pleasure to the meta-aesthetical debate between realism and anti-realism. The volume clarifies the meaning, role, and implications of one of the most influential conceptions in traditional as well as contemporary approaches to beauty. (shrink)

In this paper, I want to claim that, in conformity with overall intuitions, there are some aesthetic properties that are perceivable. For they are high-level properties that are not only grasped immediately, but also attended to holistically—just like the grouping properties they depend on and that are responsible for the Gestalt effects or switches through which they are grasped. Yet, unlike such grouping properties, they are holistically attended to in a disinterested modality, where objects and their properties are regarded for (...) their own sake. (shrink)

What is the value of intellectual playfulness? Traditional characterizations of the ideal thinker often leave out playfulness; the ideal inquirer is supposed to be sober, careful, and conscientiousness. But elsewhere we find another ideal: the laughing sage, the playful thinker. These are models of intellectual playfulness. Intellectual playfulness, I suggest, is the disposition to try out alternate belief systems for fun – to try on radically different perspectives for the sheer pleasure of it. But what would the cog-nitive value be (...) of such playfulness? I suggest that intellectual playfulness function as, at the very least, a kind of intellectual insurance policy against epistemic traps. An epistemic trap is a belief system that re-directs good-faith inquiry to bad results. Am epistemic trap manipulates background beliefs to fend off contrary evidence. For example, a conspiracy theory might include a set of beliefs about how the mainstream media has been taken over by some vicious cabal. Normal epistemic attempts will be captured by a well-wrought epistemic trap, because normal attempts at inquiry are guided by these background beliefs -- which set what counts as a plausible path to explore, and what is implausible or beyond the pale. And a clever epistemic trap will manipulate those background beliefs for ill effect. Intellectual playfulness, on the other hand, isn’t motivated by an epistemic interest in the truth, but in the sheer pleasure of intellectual exploration. Since intellectual playfulness isn’t oriented towards the truth, it won’t be constrained by an agent’s background beliefs – it won’t, for example, prefer to investigate apparently more plausible pathways. Intellectual playfulness offers an opportunity to escape from epistemic traps. But intellectual playfulness has its own limitations. It will only drive us to explore belief systems when that exploration is fun. What we need is an array of differently-motivated exploratory tendencies – empathy, curiosity, playfulness – each of which will each cover for the others’ limitations. (shrink)

We explain that most of the explanations that traditionally have been used to conceptually and ontologically differentiate aesthetic experience from any other are not compatible with a naturalistic framework, since they are based on transcendental idealistic metaphysics, reductions, and on the assumption that the aesthetic is an a priori special ontology in the object and the mind. However, contemporary works that propose as an alternative to apply directly evidence and theory from the science of emotions to the problem of aesthetics (...) introduce Aesthetic Science into a new set of problematic assumptions. We argue that conceptually equating or ontologically reducing the aesthetic to the theory of rewards cannot provide a clear alternative for any Aesthetic Science to naturalize the aesthetic experience as a heterogeneous class of events that are not already explained by affective science. This practice introduces a serious danger of making the term “aesthetic” and the respective scientific field pretty weak or completely redundant and unnecessary. (shrink)

It is a noteworthy disanalogy between contemporary ethics and aesthetics that the fitting-attitude account of value, so prominent in contemporary ethics, sees comparatively little play in aesthetics. The aim of this paper is to articulate what a systematic fitting-attitude-style framework for understanding aesthetic value might look like. In the bulk of the paper, I sketch possible fitting-attitude-style accounts of three central aesthetic values – the beautiful, the sublime, and the powerful – so that the general form of the framework come (...) through. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...) fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

This chapter explores Marcel’s relationship with German idealism, the impact idealism had on his existentialism, his philosophical evolution beyond idealist conceptions of objectivity and consciousness, and his own move towards the authentic “ethical self,” whose goal is a reciprocal, intersubjective relationship with others who are freely seeking the inner meaning of experience. It will argue that the authentic self is fundamentally personal because it is embodied, non-objective, and creates opportunities for others to existentially flourish. The continuing progress of the ethical, (...) authentic self in a world that threatens it establishes Marcel’s existentialism as way to flourish in the midst of absurdity, and so establishes it as more than a mere reaction to German idealism. (shrink)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature (...) of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...) Judgment, I reconstruct Kant’s account of aesthetic attention. On this account, aesthetic attention is simultaneously directed at the form of an object and at the judging subject’s own mental states as she attends to the object. In the experience of beauty, we specifically attend to the harmonious relation between the faculties of imagination and understanding. (shrink)

Immanuel Kant and his work occupied a space at the crossroads of several important movements in philosophy. In this essay, I look at two important crossroads in aesthetics. First, the subjective turn in aesthetics, when the focus on aesthetic objects was rebalanced with the focus on the subject’s experience of such objects, the weight shifting from the objective to the subjective. Second, after many years and many theories advancing the view that universality of judgment could be achieved, at least in (...) part, through adoption of the appropriate perspective – or attitude – when considering a particular aesthetic object, Kant offers us perhaps the most sophisticated view of disinterestedness of any, and as he does so he solidifies that tradition, bringing it to its culmination, and ushers in the beginning of its end. (shrink)

Proceedings of the Sixth Argumentor Conference held in Oradea/Nagyvárad, Romania, 11–12 September 2020.

I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.

(2013). The Beauty of Sport. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 100-120. doi: 10.1080/17511321.2013.761886.

Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.

We’ve been led to believe that museums are temples of knowledge. The historical ideal of the European museum has been to improve us morally by educating us about the globe’s myriad different cultures, creative practices, and belief systems. We’re taught that museum spaces are neutral: that they represent the world from an ‘objective’ point of view. But we have been lied to.As art historian Alice Procter shows in this incisive book, Western museums fall devastatingly far from this ideal. They do (...) not merely represent the harms done by colonialist forces; they perpetuate them. Museums tell us stories about their objects on display—many stolen from their original homes—and push narratives which, often subtly, express harmful ideologies about cultures ‘discovered’ in the Age of Imperialism. As viewers, our perception is narrowed and moulded while the voices of the displayed marginalized identities are silenced.Procter takes us on one of her ‘Uncomfortable Art Tours’, guiding us through four types of museum, presenting a selection of objects ranging from a Gweagal Shield to art performances of human zoos, each with their own sobering story. Procter sensitively reveals the histories and meanings behind these pieces, which are often obscured or overlooked, to highlight the imperial and colonial reality of our art collections. Part 1 opens with the ‘Palace’; spaces which functioned as homages to a collector’s taste, often an aristocrat or royal, who displayed their private collections in an attempt to shape the taste of elite audiences. Part 2 takes us to the ‘Classroom’, a didactic space which sees the origin of categorization—taxonomy sinisterly extended to notions of race, pre-empting nineteenth-century eugenics. Part 3 presents the solemn ‘Memorial’ space, a site for remembrance and display of human remains. Part 4 closes with the ‘Playground’, a self-reflexive space of activism and social art, which challenges the museum institution itself. (shrink)

Memphis Elvis is cool; Vegas Elvis is cheesy. How come? To call something cheesy is, ostensibly, to disparage it, and yet cheesy acts are some of the most popular in popular culture today. How is this possible? The concepts of cheese, cheesy, and cheesiness play an important and increasingly ubiquitous role in popular culture today. I offer an analysis of these concepts, distinguishing them from nearby concepts like kitchy and campy. Along the way I draw attention to the important roles (...) of cultural/historical context, background knowledge, and especially artist’s intentions as they are relevant to aesthetic assessments involving cheese and related concepts. I go on to contend that these concepts, properly understood, serve as helpful test cases concerning some important issues in contemporary aesthetics, such as the paradox of negative art and the contentious debate between intentionalists and anti-intentionalists. (shrink)

This paper focuses on the importance of wonder in human flourishing and is orientated towards the dynamics between the two, but with an emphasis on how the former is important for illuminating the latter. It begins with a preliminary sketch of both wonder and human flourishing and subsequently moves on to highlight three aspects of human flourishing: 1) ‘Individuality’, 2) ‘Relations’ and 3) ‘The political’, and why these play to wonderment.

The necessary condition for the reception of art is aesthetic distance, which paradoxically relies on direct experience: one has to be there in front of the artwork, has to live the experience. Therefore, the current pandemic and the practice of social distancing, which attempts to slow it down, is a serious challenge for the arts. This text analyses the ways in which artists and the institutions which mediate art react to the conditions caused by the pandemic. I will present some (...) creative practices which turn the adversity of the pandemic into an asset (the White Cuib Facebook project and the series by Sándor Bartha). So, there are projects which mine the gap (social distancing) and use it creatively. Then I will analyze the practice of some museums and galleries, focusing on the positive examples (e.g., the “Stay at Home Museum”) as well as on the difficulties. The examined cases will reveal the fact that while the artists were able to react in creative ways to the constraints and to create artworks which point beyond the contextual value, art institutions generally attempted merely to get through this period, hoping that they would soon be able to get back to life as usual. (shrink)

My thesis attempts to provide an aesthetic definition of art. The thesis is divided into three parts. The first part is a summary of the different attempts in defining art in contemporary analytic philosophy, beginning with a discussion of Morris Weitz’s famous paper “The Role of Theory in Aesthetics”, in which he appealed to Wittgenstein’s “family resemblance” idea while rejecting traditional essential definitions. His attempt has led to the appearance of contemporary essential definitions, whereby art is defined through different relational (...) properties. This is followed by a critically review on Weitz’s claims and those definitions. The second part focuses on Iseminger’s new aestheticism. I found that the notion of appreciation employed by Iseminger was somehow problematic, and proposed neo- Lewisian notion of value-apprehension as a replacement, with a critical discussion of whether such replacement is possible. In the last part of the thesis, I considered and defended my proposal against possible objections. (shrink)

Whether it is consciously focusing on a painting’s intricate layers of pigment or spontaneously being drawn to new layers of voices in a choral performance, attention appears essential to aesthetic experience. It is surprising, then, that the actual nature of attention is little discussed in aesthetic theory. Conversely, attention is currently one of the most vibrantly discussed topics in the philosophy of perception and in cognitive science. My aim is to demonstrate the need for and the value of aestheticians considering (...) such philosophical accounts in order to establish a clear understanding of ‘aesthetic attention’. I assess the existing aesthetic candidates against Wayne Wu’s characterization of attention as ‘selection for a task’. Finding that these candidates lack full explanatory force, I make the novel proposal that aesthetic attention is best characterized as ‘selecting for the sake of selection’. Finally, I suggest that both aesthetics and, more broadly, the philosophy of attention would benefit from paying aesthetic attention more attention. (shrink)

Following up on its predecessor in this Journal, the article defends philosophy as a guide to making and analyzing art; identifies Cubist solutions to the Prometheus Challenge, including a novel analysis of Picasso’s Les Demoiselles d’Avignon; defines a new concept of aesthetic attitude; proves the compatibility of Prometheus Challenge artworks with logic; and explains why Plato would have welcomed such artworks in his ideal state.