Instances of natural beauty are widely regarded as counterexamples to practice-based theories of aesthetic value. They are not. To see that they are not, we require the correct account of natural beauty and the correct account of social practices.

Jonathan Neufeld proposes a concept of aesthetic disobedience that parallels the political concept of civil disobedience articulated by John Rawls in A Theory of Justice. The artistic transgressions he calls aesthetic disobedience are distinctive in being public and deliberative in their aim to bring about specific changes in accepted artworld norms. We argue that Neufeld has offered us valuable insight into the dynamic and potent nature of art and the artworld; however, we contend that Neufeld errs by constraining aesthetic disobedience (...) to the artworld. Through a reconsideration of the parallel between aesthetic and civil disobedience, we illustrate how aesthetic disobedience is more accurately conceived of in terms of two kinds of acts: artistic and artworld. In addition to artistic disobedience and artworld disobedience, we add a broader and more diverse sort of transgressive aesthetic disobedience. Our aim is to articulate how Neufeld’s account of a kind of disobedience in the artworld that parallels civil disobedience can prove even more generative. (shrink)

It’s interesting and a bit surprising how little attention philosophy has given to the status of emoji, those funny little symbols that punctuate text messages, Twitter, and other digital spaces. They have become ubiquitous, but maybe because they’re seen as frivolous or a “lower” form of communication, philosophy hasn’t paid them much mind. But they are an interesting aesthetic phenomenon. They are part language, part representational image. They are phenomenologically interesting in their effect on how we experience the written word. (...) They punctuate, accentuate, emphasize, and add flavor to our communication in ways that are difficult to achieve otherwise. It would not be ridiculous to say that they represent a genuine linguistic development—a change in conventional orthography, and of an almost unbelievably sudden and dramatic, even revolutionary, kind. (shrink)