Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative thought. Historicism about (...) artworks carries over to at least some aesthetic properties that depend on facts of their broader historical context just as works do. One issue is whether aesthetic properties can be demarcated solely in terms of non-aesthetic properties. If not, explanations of aesthetic properties need to draw on other aesthetic notions such as aesthetic experience, attention, judgement or value. The paper examines several accounts of aesthetic value to show how they extend to aesthetic properties. The paper concludes with an overview of the current metaphysical debate between realists and non-realists about aesthetic properties. (shrink)

Since its emergence in the 1950s, analytic aesthetics has become the mainstream approach to aesthetics in the English-speaking world, and it has subsequently spread throughout most of the world, including mainland China. Although it was introduced into the Chinese academic world at an early time, around the late 1950s, and has been disseminated and researched in China over the past three decades, analytic aesthetics remains underdeveloped in China. Chinese academics tend to have little familiarity with, and exposure to, analytic approaches (...) to aesthetics. Unsurprisingly, given this situation, Chinese contributions to analytic aesthetics have had a marginal impact on the international academic discussion. This paper aims at providing a picture of the development of analytic aesthetics in China. In section 1, I clarify the scope of the paper. Section 2 briefly introduces aesthetics in China so as to outline the context for our discussion about analytic aesthetics. In section 3, I first offer a brief historical narrative of the dissemination and reception of analytic aesthetics in China, and then explore how analytic aesthetics has been researched and taught in China. -/- . (shrink)

In this paper, the famous Bikolano folk way of healing called Santigwar is reconstructed as a procedure of social critique which was ideationally made possible by Kristian Cordero’s metaphorical configuration of its practice from healing a sick body to a poetics of social diagnosis. The legitimacy of this effortis grounded on the normative significance of the practice of santigwar toBikolanos in the present and its historical background of conversion andresistance in Bikol. It is argued that while santigwar, in Cordero, is (...) a literarypiece for social healing, it could likewise serve as a local concept for socialcritique refurbished with the conceptual tools borrowed from the recognitivetheory of Axel Honneth. Santigwar captures in literary imagination the brand ofsocial criticism called immanent critique geared for freedom yet grounded innormativity. Hence pagsantigwar sa banwaan becomes a philosophical praxis ofsocial healing performed for social emancipation —using Fenella Cannell’s terminology of the ethnographic value of santigwar to Bikolanos —for a “peoplewho have nothing.” . (shrink)

The thesis explores the adequacy of five well-known conceptions of art to the case of gardens. It concludes that, of those conceptions, the cluster theory is best suited to the case of gardens.

Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under (...) which aesthetic perception occurs, and what constitutes the content of these perceptions. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions, we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction. This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction. (shrink)

Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience could offer (...) new orientations to our understanding of embodied cognition and of aesthetics as a fundamental part of it. We argue that aesthetic experience, especially its emotional dimension, is an evaluative process that influences the anticipation for stable and successful interactions with the environment. In other words, aesthetics facilitates sense-making as they affect what might be anticipated by an action tendency with respect to an environment. (shrink)

This thesis is about the way aesthetic thought changed or developed in Germany in the years immediately after the publication of Immanuel Kant's third critique - A Critique of the Power of Judgement. Besides many comparatively minor developments, it identifies three important changes in aesthetic thinking after Kant. Firstly, there was an increased emphasis on the integrated and interdependent nature of the human thinking that Kant had been more concerned to classify and analyse. Secondly, the change in aesthetics marks the (...) change from Enlightenment classicism to Early German Romanticism. Thirdly, the role of aesthetics itself changed, from attempting to define the concept of beauty and explain how we perceive it, to claiming that aesthetics is concerned with humanity's search for meaning in the work of art. This last development amounts to a suggestion that the hermeneutic strand in philosophy grew out of early post-Kantian aesthetics. Three thinkers have been selected as a means of showing these changes. They are Friedrich Schiller, the poet and dramatist, Friedrich Holderlin, the poet, and Friedrich Schlegel, the literary theorist and essayist. Chronologically, our period begins in 1793 and ends about 1800, just before the death of Kant, the death of Schiller, the mental collapse of Holderlin, and with the final editions of Schlegel's literary journal, Athendum. This timespan allows a fairly close study of Schiller's influential series of essays on philosophical aesthetics, which he wrote in direct response to the Third Critique, re-examining Kant's claim that the judgement of taste is subjective, and expanding Kant's account of how it is possible to create works of art and also of Friedrich Holderlin's and Friedrich Schlegel's most productive years, when both worked out aesthetic theories that moved onwards from Schiller, but nevertheless remained indebted to Kant in several respects. (shrink)

This is the first book on the role of cognition in the aesthetic theory of Li Zehou (1930–2021), one of China's most important and influential contemporary philosophers. The cognitive dimension and its integration with practice is discussed by examining one of Li's pivotal concepts: "subjectality," a human subject shaped by the world in which they live, including beauty and aesthetic experience. Li's theory is also contextualized in the threefold inspiration coming from Confucian, Kantian, and Marxist philosophies, which differently conceptualize the (...) aesthetic and cognitive dimensions in humans. By referring to different aesthetic theories and interdisciplinary approaches to cognition, the book aims to show how Li's cognitively oriented project can contribute to contemporary research into aesthetics. Although primarily written for philosophers working in aesthetics, Chinese, and comparative philosophy, the book is also addressed to anyone interested in contemporary Chinese thought. (shrink)