In this paper I examine a set of exceptional aesthetic experiences that remove us from our pragmatic everyday life and involve a specific type of unaffordability. I then extend this notion of unaffordability to experiences of awe and its relation to the sublime. My analysis is guided by considerations of the phenomenologically inspired enactivist approach that supports an affordance-based accounts of aesthetic experience. I review some recent neurophenomenological studies of the experience of awe, and I then sketch out a phenomenology (...) of awe as it approaches the sublime. (shrink)

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...) they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

Aesthetic value empiricism claims that the aesthetic value of an object is grounded in the value of a certain kind of experience of it. The most popular version of value empiricism, and a dominant view in contemporary philosophical aesthetics more generally, is aesthetic hedonism. Hedonism restricts the grounds of aesthetic value to the pleasure enjoyed in the right kind of experience. But hedonism does not enjoy any clear advantage over a more permissive alternative version of value empiricism. This alternative is (...) aesthetic liberalism. On this view, an object’s aesthetic value is fully grounded in any value—not just the hedonic value—of a correct and complete experience of its sensory features. To demonstrate the advantages of liberalism over hedonism, I apply both views to analyze the aesthetic value of the Spring Temple Buddha and Anselm Kiefer’s Seraphim. I detail four advantages of liberalism over hedonism, and I conclude by defending liberalism from two kinds of objection. (shrink)

Philosophy, art and leadership have been considered in previous studies, nevertheless rarely have all three been blended in one. The aim of this thesis resided in the attempt to build an unfixed conceptual net, having the ambition to shed light on the innermost parts of the leader; by collecting insights from philosophical notions, the figure of an artistic leader arises. The personal importance of this work was rooted in the hope of a leadership sourced in an inner reflection. Through qualitative (...) research, we made use of concepts derived from Kant, Foucault, Nietzsche, Heidegger and several other thinkers, targeting the ontological, sensible, and reflecting centers of the figure of the artistic leader; which ultimately was completed by primary data retrieved from experts. At the heart of the thesis, namely the fourth strand, these thoughts are developed in two volumes. The first regards the emergence of the artistic leader, a concise ontology of this figure, the suggestion of the paramount importance played by self-reflection and the ‘care’ as found in a Foucauldian understanding, as well as the mechanisms of the mind of the leader. The eventual practices of the artistic leader are developed in the second volume, seen as expressive channels through which this figure could interact with the environment. The thesis - by its very nature - is open ended, as it is a suggestion of a figure drawing its relevance in the continual constructive thinking this work hopes to generate in the reader. (shrink)

In this paper I argue that when one has an epiphany of the form ‘God is F’ upon having a sublime experience one can be accurately described as being acquainted with the fact that God is F as opposed to inferring that God is F from the experience at hand. To argue for this, I will, first, outline what a sublime experience is, in general, before outlining what a theistic sublime experience is in particular. Second, I will outline two ways (...) of understanding theistic sublime experiences. First, I will outline a model that I will call the ‘inference model’ which, put simply, says that when one has an epiphany of the form ‘God is F’, upon having a theistic sublime experience, one is drawing this conclusion via a process of ‘inference-to-the-best-explanation’ The sublime: From antiquity to the present, Cambridge University Press, Cambridge, 2012, p. 426). Second, I will outline an alternative model that I call the ‘acquaintance model’ which, put simply, says that no inferential process occurs when one has an epiphany of the form ‘God is F’ upon having a theistic sublime experience, but one is made directly aware of the fact that God is F. Third, and finally, I will respond to some objections to the acquaintance model. (shrink)

Modernism is a mental and intellectual approach by modern human; a mind that became a new change facing life crisis and manifested the various aspects of life using art medium. Modern period started a fundamental change; therefore, the artist converted the art meaning by its stream of consciousness. The author, poet and painter of the modern period embodied the self-concept of surrounding issues using an innovative thought. Achieving differences made the dynamic mind of the modern artist to research in order (...) to create a world free of any representation after its subjective powers. On the other hand, art pundits appeared with new attitudes and express their iconoclastic opinions on representation avoidance concepts in modern art. Gilles Deleuze and Nelson Goodman are 20th century philosophers, who cohered a special paradigm on this period by presenting useful concept. The writer believes that recognition and perception of modern artistic works get a new concept considering opinions of these two great theoretician. Modern literary and visual works, abandoning the former representation tradition, changed to a form of anti-representational and modeling based on the concepts submitted by the mentioned philosophers provided a range of new thoughts. Focusing on painting and literature as two artistic eras, this research tries to renovate a different aspect of representation, by connecting them together. What is to be questioned is, on what concepts was the representation concept in the worldview of artists and theoretician in the modern period based and how it was affected? (shrink)

In my dissertation, I engage in a political history of waste; in particular I look at modern philosophers from the late seventeenth and early eighteenth centuries and the way that waste functions alongside narratives of civilization, progress, and perfection. I analyze the political, pedagogical, and other theories of John Locke, Jean Jacques Rousseau, and Immanuel Kant. I use Julia Kristevaâs concept of abjection to trace the legacies of these philosophers to the continued and continuing practices of wasting life their work (...) supports and maintains. Social contract theory must have its others, those wasted and abjected to limn the boundary of the âclean and properâ civilized order. Locke abjects waste in his theory of property and I link the use of his term âwastelandâ to the wastelanding of Native Americans. As Kristeva says the forgetting, repressing, or disavowal of abjection leads to the return of its repressed in the form of our âapocalypses.â I discuss Rousseauâs treatment of waste and the way it is ambivalently embraced, which I think is a more appropriate treatment of waste. I also compare Emile and Sophieâs education and argue that his education of women makes waste of their lives. Last, I discuss Kantâs theory of waste and race together, arguing that he redeems all waste and that he makes waste of all races except the white race. He assents to the use of people of color as means for the white raceâs ends, rather than treating them as ends in themselves. Thus, I conclude that social contract theories are wasteful of life and lives and that contract theory should be garbaged for a new political principle: to not make waste of life or lives. (shrink)

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animalmade art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

Pretendemos neste artigo examinar a aparente incompatibilidade entre a concepção, exposta na terceira Crítica kantiana, do jogo livre ou harmonia entre as faculdades da Imaginação e do Entendimento e a Dedução Transcendental das Categorias da primeira das Críticas kantianas, na medida em que a primeira parece afirmar que a Imaginação pode apreender “sem conceitos” um objeto intuído, ao passo que a última parece submeter todas estas apreensões à posse a priori de um conceito. De modo a realizar este exame, vamos (...) considerar as posições assumidas por alguns dos mais proeminentes interpretes da filosofia de Kant. (shrink)

La crítica kantiana legó una doble herencia a la biología decimonónica: su noción de ciencia basada en el mecanicismo newtoniano configuró epistemológicamente la teoría de la evolución darwinista, mientras que su comprensión de los organismos se tradujo en una morfología teleológica. En este artículo planteamos dos cuestiones en torno la relación entre las ideas de Kant y Darwin: 1) si Kant habría considerado a Darwin el Newton de la biología, a lo que, con matices, respondemos afirmativamente; 2) si la física (...) newtoniana es hoy suficiente para naturalizar lo orgánico. Nuestra respuesta negativa se fundamenta en las ciencias de la autoorganización y la evo-devo, que permiten plantear la naturalización de la concepción kantiana de los organismos. (shrink)