In The Use of Pleasure, Michel Foucault suggests that it is possible to read Walter Benjamin’s writings on Baudelaire as a contribution to a genealogy of ethics. This article experiments with reading Benjamin in this way. It shows that a distinctive analysis of each of the four elements of Foucauldian ethics (ethical substance, mode of subjectivation, ethical practice and telos) can be found in Benjamin’s work on Baudelaire and the Paris arcades. Specifically, the article makes the case for reading Benjamin (...) in terms of his valuable contribution to understandings of the role played by art in modern forms of ‘parrhesia’, or courageous truth-telling. However, whereas Foucault’s notion of ‘arts of living’ focuses on challenging actual relations of power, Benjamin’s focuses on activating potential forms of power. In this way, Benjamin’s ethical framework tests the limits of Foucault’s conceptualization of the government of self and others. (shrink)

An introduction to philosophy of language since Frege, focusing on the 20th century.

Lacking in the philosophy of sport is discussion of the gendered numbers of sets played in Grand Slam tennis. We argue that the practice is indefensible. It can be upheld only through false beliefs about women or repressive femininity ideals. It treats male tennis players unfairly in forcing them to play more sets because of their sex. Its ideological consequences are pernicious, since it reinforces the respective identifications of the female and male with physical limitation and heroism. Both sexes have (...) compelling reason to reject the practice. (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)

ABSTRACT In this article, I undertake a critical interrogation of the complex relations of control operating in the contemporary workplace of the knowledge worker by drawing on Foucault’s theorisation of power and resistance. I plot the risks to which the knowledge worker are exposed, the conditions of possibility as well as the challenges that complicate productive resistance in the workplace. In the process, I make use of an array of existing scholarly research that utilises the Foucauldian framework of the relationality (...) of power and develops some Foucauldian concepts further and applies them to our present context. (shrink)

Malcolm Quinn’s book,Utilitarianism and the Art School in Nineteenth-Century Britain, is an historical study of the birth pangs of the state-funded art school that interrogates the politics of art’s reproduction within the context of Victorian reformism in which the art school was proposed as a mechanism to improve the standards of taste of manufacturers and factory workers, as well as of artists, designers, art teachers and others. The review locates the political and cultural transition from the academy to the art (...) school as the construction of a specifically bourgeois institution of art. (shrink)

This article seeks to identify and address the normative void that resides at the heart of postmodernist-feminist theory, and to propose a philosophical framework – beyond postmodernism, but incorporating its central insights – for thinking through the normative questions with which feminists are inevitably confronted in their engagements with positive law. Two varieties of postmodernist-feminism are identified and critically analysed: the ‘corporeal feminism’ of Elizabeth Grosz and Judith Butler, which seeks to ground feminist critical practice in the irruptive capacities of (...) the material body considered as an arte fact of social construction; and the deconstructionist feminism of Drucilla Cornell, for whom ‘the feminine’ is an indeterminate but disruptive force beyond its construction in law and in other social sites. The first component of the argument elaborated here is that each of these approaches ultimately reduces to a form of aestheticism which is incapable of generating a worthwhile and workable feminist approach to the restructuring of politics and law. The second component of the argument involves a return to aesthetics, in particular to the philosophical aesthetics of Kant’s Critique of Judgement. Kant’s aesthetic philosophy, it will be suggested, yields a framework of concepts which, duly re-manipulated, could speak to the very concerns that have inspired postmodernist-feminism: how to attend to (bodily) particularity while avoiding the dangers associated with ‘essentialism’; and how to theorise the propensity of the unrepresentable power of the feminine to exceed both embodied human capacities and the confining rein of socially privileged rationalities. Crucially, however it also responds to a set of preoccupations – those of the feminist lawyer – that cannot be accommodated by postmodernism: how to translate embodied experience into (legal) norms; generalise from the particular; seek consensus; and codify an endless potentiality in the form of law. (shrink)

Part of teaching the descriptive phenomenological psychological method is to assist students in grasping their previously unrecognized assumptions regarding the meaning of “science.” This paper is intended to address a variety of assumptions that are encountered when introducing students to the descriptive phenomenological psychological method pioneered by Giorgi. These assumptions are: 1) That the meaning of “science” is exhausted by empirical science, and therefore qualitative research, even if termed “human science,” is more akin to literature or art than methodical, scientific (...) inquiry; 2) That as a primarily aesthetic, poetic enterprise human scientific psychology need not attempt to achieve a degree of rigor and epistemological clarity analogous to that pursued by natural scientists; 3) That “objectivity” is a concept belonging to natural science, and therefore human science ought not to strive for objectivity because this would require “objectivizing” the human being; 4) That qualitative research must always adopt an “interpretive” approach, description being seen as merely a mode of interpretation. These assumptions are responded to from a perspective drawing primarily upon Husserl and Merleau-Ponty, but also upon Eagleton’s analysis of aestheticism. (shrink)

This essay argues that the exploration of scepticism and its implications in the work of Stanley Cavell and David Hume bears more similarities than is commonly acknowledged, especially along the lines of what I wish to call “sceptical naturalism.” These lines of similarity are described through the way each philosopher relates the “natural” and “nature” to the universal, the necessary, and the conventional.

Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account (...) of aesthetic diversity, and they engage in a collective dialogue about these issues. (shrink)

Este libro promete ser una contribución para el estudio de la teoría crítica en general y para el análisis de la historia de la Escuela de Frankfurt en particular. Todos los trabajos que están contenidos en este volumen hacen parte del amplio marco teórico de la teoría crítica de la sociedad. Muchos siguen las huellas de los fundadores de esta tendencia, mientras que otros se presentan como críticos de la misma y unos cuantos más tratan de vincular problemas y contextos (...) de relevancia a los conceptos más destacados que se empezaron a construir hace cien años en Frankfurt. Encontramos como buena excusa para su publicación precisamente el año centenario del Instituto de Investigación Social. Además, hemos creído conveniente organizar los materiales en secciones que van desde la historia de la Escuela de Frankfurt hasta la consideración de algunos interrogantes de actualidad motivados por el desarrollo de la teoría crítica. No obstante, con esto no pretendemos establecer límites absolutos de clasificación. Confesamos que nuestra forma de organizar los ensayos responde simplemente a criterios editoriales más que a cuestiones teóricas y conceptuales. Claramente las intersecciones entre los estudios aquí presentados son amplias y hacen que cada una de las propuestas pueda dialogar con las otras en función de sus evidentes parecidos de familia. (shrink)

Aesthesis, the classical term for sensing and perceiving, is at the heart of innumerable problems that plague global society. The purpose of this article is to open a conversation on aesthesis. We survey the roots and relevance of aesthesis as a direct albeit contested relation and engagement with the world and with Others. From its pre-Socratic origins, aesthesis has been both a pragmatic, somatic concept, prompting a re-evaluation of the distinction between experience and abstraction. We trace its ongoing repression from (...) Plato through ‘western’ theories of formal Aesthetics. Drawing on a relational interpretation of Protagoras’ aesthesis, we argue that modern pragmatists and radical empiricists, as well as more contemporary critics of the ‘colonization’ of aesthesis (Mignolo and Vasquez) by formal Aesthetics recognize and develop the relational and ethical aspects of aesthesis. We consider the role of the body, affect, and of the intangible or virtual qualities of aesthesis. The ethics of obligations (Weil) in the polis (Arendt) shows how aesthesis informs politics despite its repression in favour of moral and legal norms. We argue this is relevant to contemporary crises such as xenophobia and ecocidal climate warming. (shrink)

I defend traditional aesthetics against sociological criticism. I argue that “historicist” approaches are not supported by arguments and are intrinsically implausible. Hence the traditional ahistorical philosophical approach to the judgment of taste is justified. Many Marxist, feminist and postmodernist writers either eliminate aesthetic value or reduce it to their favourite political value. Others say that they merely want to give a historical explanation of the culturally local phenomenon of thinking in terms of the aesthetic. As a preliminary, I point out (...) that the conception of the aesthetic these theorists operate with is a straw man. In particular, Kant would have rejected it. I then point out that the empirical evidence does not support their historicist views. Most sociological theorists adduce no evidence, thinking their view obviously correct. Where evidence is adduced, the evidence has little connection with their general historicist conclusions. Lastly, I put pressure on the historicist view, first by appealing to the enormity of the error attributed to ordinary people, and second by appealing to the inevitability of pragmatic inconsistency by those who assert the view. I conclude that traditional philosophical aesthetics was right to be ahistorical. (shrink)

Reproduced from Robert J.C. Young, Torn Halves. Pages: 256. ISBN: 0-7190-477-3 ; 0-7190-4776-5. Price: 14.99 ; 40.00.

This article explores the role of Athenian literary prizes in the development of ancient literary criticism. It examines the views of a range of critics , and identifies several recurrent themes. The discussion reveals that ideas about what was good or bad in literature were not directly affected by the award of prizes; in fact the ancient critics display what is called an “anti-prize” mentality. The article argues that this “anti-prize” mentality is not, as is often thought, a product of (...) intellectual developments in the fourth century BC. It is suggested that the devaluation of prizes is actually a contemporary, integral feature of prize-awarding culture in general. This article draws on recent approaches from cultural sociology to offer some conclusions about the way in which prizes function in popular and critical discourse. (shrink)

Let me begin by repeating two well-known features of critical realism. First, the core objective of the human species – it’s moral truth, is a sustainable, diversified global society in which the f...

This essay explores the symbiotic relationship between European modernity, its vision of woman and water. The union of these three metaconcepts is consecrated by the Ovidian story of Narcissus and his other, Echo. The West finally found itself completely through Hegel, the Ur-narcissist, who explains the immutable link between that European monopoly, history (by which he means the potential for becoming modern), and the sea. The narcissism of modernity is the great theme of Marx and Engels in the Communist Manifesto, (...) which shows how the bourgeoisie seeks to remake the entire world in its own image. Psychoanalysis, through the writings of Ferenczi, joined in cementing the connection, likening woman to the primal sea to which the male ever yearns to return. And Foucault suggests a potential conclusion from this metaconceptual constellation: that Man, a Western creation, may well disappear like a face drawn on a sandy beach. (shrink)

ArgumentBy the year 1720, one could visit at least three large-scale wooden models of Solomon's Temple in the cities of Amsterdam, Hamburg, and Halle. For short periods of time, the Amsterdam and Hamburg Temple models were exhibited in London, where they attracted a great deal of attention. The Halle model, on the other hand, never moved from its original location: a complex of schools known today as the Francke Foundations (die Franckesche Stiftungen). This article explores the reasons for the Halle (...) model's striking immobility by considering its position at the center of a long-distance network, also referred to as the Danish-Halle mission. In this article I argue that the Halle Temple model functioned as an effigy and memory theater that helped proponents of this mission make a case for the Temple's status as the world's first information technology. Young people moved around the wooden model; they took virtual pilgrimages with it and internalized its infrastructure by memorizing its various components. The model's position at the center of the complex's striking ethnographical collection and curricula exposes relations between the Danish-Halle mission, Christian philosophy, and an irenical turn as public policy in early eighteenth-century Brandenburg-Prussia. (shrink)

Foucault is critical of the tendency to reduce all social and political problems according to predetermined ends and verifiable procedures. For Foucault, philosophical activity is a condition of possibility for the articulation of the question of the self. Inspired by his work on the desiring subject, Foucault begins to explore the ethical and political implications of self-care for modern day concerns. He presents an account of self-care that centres on developing an attitude that questions the personal relationship to truth, and (...) puts to test those ideas and truths held most dearly. Processes of self-care evaluate the consistency between those truths a person regards as necessary and a person’s actions in the world. Interested in the ways in which people see themselves as subjects, Foucault directs his attention to the connection between systems of knowledge, power, and practices of the self. Crucial to Foucault’s process is the recognition that the self-subject is not given and does not have ontological precedence, and that subjectivity is transformable. By finding the lines and fractures in external and internal modes of objectification Foucault hopes to open up the space of freedom to bring about transformative events. The care of the self serves as a form of critique and resistance where it is both a way of living and acting in the world, and a critical response to a particular time and place. (shrink)

Within recent scholarship, a long-standing tendency to view Foucault as pessimistic about the possibilities of activism is now being reversed. For many contemporary commentators who emphasize the themes of personal agency, transgression and radical freedom in their assessment of his thought, Foucault offers new possibilities for political practice and for the pursuit of self-determination. However, an examination of Foucault’s work, particularly in the transitional period preceding his so-called ‘ethical’ writings, indicates his appreciation of basic human needs and functions that complicates (...) the current understanding of Foucault as a philosopher of freedom. Particularly in his discussions of the ideas of ‘desubjectivation’ and ‘limit-experience’, Foucault’s work recognizes that prior conditions of psychological, economic and social ‘well-being’ are prerequisites for any subsequent performance of freedom. Examining this dimension of Foucault’s work reveals interesting points of convergence between his thought and the capabilities approach advocated by philosophers such as Amartya Sen and Martha Nussbaum. Like them, Foucault’s work recognizes that there are some minimal levels of human functioning below which talk of self-determination is misplaced. As such, political philosophy needs to be concerned with the grounds of personal and political obligation, no less than the limits and possibilities of freedom. (shrink)

All forms of beauty create appeal or enticement with moral significance. Sublime beauty draws one into a deep relationship that properly promotes the good and true. Parents tend to experience such beauty in their children, as eloquently described in works such as the 14th-century poem ‘The Pearl’, and they see this even when their children are desperately ill or dying. The experience of beauty in one’s child creates or reinforces the morality of caring. Unfortunately, at the end of modernity, the (...) framing of beauty as only instrumental and subjective generally works against any recognition of dignity or respect for the very small pediatric patient. Practitioners who believe in the intrinsic value and dignity of persons as general concepts should recognize parental drawing toward their children as a particularization of a transcendental value. (shrink)

El presente artículo se basa en la teoría de la creatividad artística de Jon Elster para tratar de ofrecer un esbozo de definición del concepto de arte, así como las bases para una teoría del valor artístico. Se sostiene que una obra de arte es una creación humana realizada con la intención de provocar una experiencia estética, así como que el principal valor de una obra de arte radica en su capacidad para producir emociones estéticas y no estéticas. Dicha concepción (...) pone en dificultades a algunas importantes formas de arte contemporáneo, como el arte conceptual. (shrink)

Several critics of Foucault, notably Alan Megill and Jürgen Habermas, accuse Foucault of being an ‘aestheticist’. As such, Foucault fails to realise that the very appeal to aesthetics is made possible by modernity's rationalization, which offers better resources for emancipation than dangerous aestheticizations. This paper argues that such criticisms mistakenly deploy only certain modernist notions of aesthetics against Foucault. There are some fair grounds for holding that Foucault does appeal to such conceptions of aesthetics in his theorization of transgression, not (...) least because of his interest in modernist, avant‐garde writers and artists such as Roussel and Magritte. Yet, overall, Foucault's interest in avant‐garde aesthetics is not modernist in the sense understood by his critics. Foucault tends to focus on modernist illustration of the absence of foundations for representation and language, adopting a paraesthetic angle of critique. The limiting conditions that make representation possible can be seen in this light as both contingent yet necessary. Foucault's model of critique is developed in his early analyses of avant‐garde art and then expanded to cover subjectivity and the aesthetics of existence in his later philosophical critical ethos of modernity. Foucault uses avant‐garde art as a critical mode of reflection, to analyse and rethink the limits of the present. (shrink)

This paper starts from the contention that Pierre Hadot’s unusually divided reception reflects the different dimensions of Hadot’s own scholarly profile. Hadot’s largely favourable reception amongst historians of ideas responds to the philological dimension of his work, but misses the implicit normativity involved in his recovery of the sense of ancient philosophy as a way of life. Analytic critics have registered but contested this normativity in ways that arguably also misrepresent his work. This paper contends that both receptions of Hadot (...) have missed what can be called Hadot’s unique philosophical problematic: uncovering through the ancient sources a kind of phenomenology of how a person would perceive and evaluate the world who had, counter-factually, attained a wholly enlightened, wholly “sage” mode of living. This phenomenology of sagesse, which is predicated on a metaphysical agnosticism, proves closer to the last Foucault than Hadot sometimes suggested: albeit embodying an aesthetics of “the whole,” over against Foucault’s aesthetics of existence. (shrink)

A map of the world that does not include Utopia is not worth glancing at, for it leaves out the country at which humanity is always landing.Oscar WildeThe further ahead one looks, the more the vision of the distant future resembles the golden age of the mythical past.John CohenBeing condemned (or chosen?) to be “the missing link” on its way to perfectibility (or redemption?) - half animal/half human - we always need in some way or another the transcendence of a (...) Utopian Vision. It therefore comes as no surprise that most of the essays in this issue, reflecting a vision of the world today, are openly or covertly concerned with Utopian expectations. Hence, it might be worthwhile to trace the origins and reflect in flashbacks - following the pioneering technique of the French film-maker Alain Resnais - a story of the Utopian Vision. (shrink)

Here I examine the potential for art-science collaborations to be the basis for deliberative discussions on research agendas and direction. Responsible Research and Innovation has become a science policy goal in synthetic biology and several other high-profile areas of scientific research. While art-science collaborations offer the potential to engage both publics and scientists and thus possess the potential to facilitate the desired “mutual responsiveness” between researchers, institutional actors, publics and various stakeholders, there are potential challenges in effectively implementing collaborations as (...) well as dangers in potentially instrumentalizing artistic work for science policy or innovation agendas when power differentials in collaborations remain unacknowledged. Art-science collaborations can be thought of as processes of exchange which require acknowledgement of and attention to artistic agendas as well as identification of and attention to aesthetic dimensions of scientific research. I suggest the advantage of specifically identifying public engagement/science communication as a distinct aspect of such projects so that aesthetic, scientific or social science/philosophical research agendas are not subsumed to the assumption that the primary or only value of art-science collaborations is as a form of public engagement or science communication to mediate biological research community public relations. Likewise, there may be potential benefits of acknowledging an art-science-RRI triangle as stepping stone to a more reflexive research agenda within the STS/science communication/science policy community. Using BrisSynBio, an EPSRC/BBSRC-funded research centre in synthetic biology, I will discuss the framing for art-science collaborations and practical implementation and make remarks on what happened there. The empirical evidence reviewed here supports the model I propose but additionally, points to the need to broaden the conception of and possible purposes, or motivations for art, for example, in the case of cross-sectoral collaboration with community engaged art. (shrink)

This essay considers the political economic ideology in recent popular cinematic depictions of finance in terms of Immanuel Kant’s aesthetics of the sublime. Think, for instance, of the contingent and risky peaks and valleys of the stock market’s price paths as the jagged mountains that inspire the fear and terror necessary for sublime feeling. I give a sustained reading of how the Kantian sublime operates in Neil Burger’s 2011 film Limitless. By subordinating both the technics of neuro-augmentation and the contingency (...) of the economy to an innate human reason, the protagonist shows audiences what it might mean today to experience sublimity – but not without hinting at a latent anti-Kantian fissure that would reorient us against this bourgeois discourse. (shrink)

From the point of view of reflected postmodernity, Ágnes Heller constructs her own discourse of aesthetics on the basis of György Lukács’s contribution. She locates aesthetics in her social philosophy, philosophy of history, and ethics, transforming aesthetics from a ‘Marxist Renaissance’ to a ‘post-Marxist’ position, and points out that the paradoxes of modern culture can be avoided by a personality that is autonomous and moral in action. The notion of the beautiful character in everyday life is a symbol of the (...) ideal type of society and of the good life in contrast to the God-forsaken world of modern dilemmas and the domination of the sublime in postmodernism. It is the expression of freedom and democracy in the contemporary age. Heller’s neo-humanist aesthetics is in essence the presentation of her cultural politics as a Great Republic. (shrink)

The conceptual and methodological contributions of Marxist aesthetics from Eastern European countries like Hungary, Yugoslavia, Poland, Czechoslovakia, Bulgaria, Romania, and East Germany were productive and significant despite various hurdles faced concerning institutionalization, legitimization and differing theoretical abuses. In its mode of inquiry and discursive practices, Eastern European Marxist aesthetics is both similar and dissimilar to its Western, Soviet, Russian and Chinese counterparts. The specificity here is the function of a unique geographical and socio-historical context, as well as interaction with other (...) contemporary paradigms of thought. The innovative impulses of Eastern European Marxist aesthetics affected six scholarly domains: aesthetics of praxis, theory of realism, critique of modernity, semiotics, theory of genre and cultural theory. This paper provides a general survey of the intellectual achievements of Eastern European Marxist aesthetics across these six domains and will show how this theoretical tradition has influenced the modern history of ideas. (shrink)

John Tradescant the Elder was probably born in England in the 1570s. The earliest known historical record of his life documents his marriage to Elizabeth Day, at Meopham on 18 June 1607.1 A long career working as gardener in the service of England’s nobility—among his employers were Robert and William Cecil, Edward Wotton, and George Villiers —provided numerous opportunities for travel abroad in pursuit of the exotic species for which his eminent employers clamored. As a result of his voyages, Tradescant (...) not only imported hundreds of plant varieties for his clients, but also amassed thousands of artefacts and other.. (shrink)

Music is an ancient and ubiquitous form of human expression. One important component for which music is sought after is its aesthetic value, whose appreciation has typically been associated with largely learned, culturally determined factors, such as education, exposure, and social pressure. However, neuroscientific evidence shows that the aesthetic response to music is often associated with automatic, physically- and biologically-grounded events, such as shivers, chills, increased heart rate, and motor synchronization, suggesting the existence of an underlying biological platform upon which (...) contextual factors may act. Drawing on philosophical notions and neuroscientific evidence, I argue that, although there is no denying that social and cultural context play a substantial role in shaping the aesthetic response to music, these act upon largely universal, biological mechanisms involved with neural processing. I propose that the simultaneous presence of culturally-influenced and biologically-determined contributions to the aesthetic response to music epitomizes Baumgarten’s equation of sensory perception with taste. Taking the argument one step further, I suggest that the heavily embodied aesthetic response to music bridges the cleavage between the two discrepant meanings—the one referring to sensory perception, the other referring to judgments of taste—traditionally attributed to the word “aesthetics” in the sciences and the humanities. (shrink)