This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a crucial normative (...) change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks. (shrink)

For better or worse, places matter to us. Especially the familiar places we call home—the ones that embody our personal and cultural histories, give our lives a sense of stability, and support the routines of everyday life. Global Climate Change (GCC) poses an existential threat to these places, engendering nonmaterial losses that threaten subjective well-being and overall mental health. Unfortunately, these nonmaterial losses are often overlooked or underappreciated. My aim in this article is to counter this tendency and explore the (...) relationship between people and place in a way that sheds light on the nonmaterial threat of GCC. I approach this task from the lens of everyday aesthetics. While finding adequate compensation for these nonmaterial losses is unlikely, I suggest that sensitivity to the aesthetic texture of everyday life can provide a source of aesthetic consolation that can make the challenges of GCC easier to manage. (shrink)

This article’s assumption is that ordinary aesthetics does not necessarily imply a distancing from art and artists; rather, it can benefit from the input of creators when they use everyday scenes or objects as their theme. This approach focuses on the practice of twentieth-century Italian painter Giorgio Morandi, who depicted compositions of common objects such as bottles, jars, and vases. Through Morandi’s meditative and artistic search, these objects are given value and aesthetic elevation in his paintings. Thomas Leddy’s aesthetics of (...) everyday life will also be called upon in my analysis, insofar as the author recognizes a continuity between the ordinary and the extraordinary, through auratic experiences. If Morandi discovers the extraordinary in the trivial, this is achieved through a gradual process of selection regarding the objects he favoured, which allows for the interaction of various levels of aesthetic intensity. Morandi’s objects and models and their preparation suggest a circulation between aesthetic degrees that, in turn, suggests a timeless “language of things” fixed through the discourse of the paintings. Along these lines, it will be necessary to address the enchantment related to common things, a mesmerizing presence of which we became more aware through Morandi compositions. (shrink)

Journal of Philosophy of Education, EarlyView.

The purpose of this paper is to introduce everyday aesthetics in education. First, it presents everyday aesthetics as a subdiscipline within philosophical aesthetics, that revisits sensory perception as the backdrop of all experience, claims ordinary life is a proper venue for aesthetic inquiry, and problematizes the impact aesthetic preferences have on habitual decisions. Second, the paper argues that among the diverse matters students learn in school, they learn—explicitly or implicitly—what and how to perceive, as well as the pedagogical purposes of (...) daily perception. School models the relationships that students will develop between what they perceive, what they think about it, and how they act accordingly. Next, the paper elaborates on the notions of “school aesthetic matrixes” and “space and place in school”. School aesthetic matrixes refer to perceptual patterns that allow characterizing relationships between daily perception and the pedagogical project of a school. They manifest through expressions such as prison school, home school, mall school, etc. Space and place in school allude to concomitant experiences, of corporeal basis, that allow describing how we inhabit the world. What distinguishes them is the approach each one gives to the senses and the body. The paper concludes by calling attention to the comprehension and role of perception in education, urging to mind the aesthetic-pedagogical character that students develop throughout 12 years of schooling. Ultimately, the key relationships we develop with ourselves, others, and the world, entail a basic perceptual dimension that can be educated to become more purposefully and integrally present in life. (shrink)

How does Richard Shusterman’s Thinking Through the Body apply to the issues of everyday aesthetics? As it turns out, many chapters contribute significantly to everyday aesthetics, in particular the work on architecture, self-styling, the body as background, lovemaking, and the process of making a photographic portrait. Shusterman’s concentration on the art of living has special importance to everyday aesthetics. Current debates within the field of everyday aesthetics also raise problems for somaesthetics. I also question the limits of somaesthetics and Shusterman’s (...) rejection of defamiliarization in making the ordinary extraordinary. (shrink)

This study looks at the emerging branch of everyday aesthetics from the perspective of the fracture which exists in its core, as a result of the double reading of the everyday: the first, which elevates it to the realm of the extraordinary and the second, in which it remains strictly ordinary. Our purpose here is to repair this fracture by turning to David Hume’s functionalist aesthetics, where disinterest and utility are reconciled through sympathy and the affective experience of otherness that (...) it provides. Once transferred to the everyday sphere, sympathy facilitates understanding between these two versions, since the aesthetic appreciation of everyday objects or common activities requires, like the second version, that they remain in the practical environment and, like the first, to see something special in them, which is the possibility of one’s own or another’s well-being. (shrink)

Everyday Aesthetics was born in the 21 st Century as a sub-discipline of Anglo-American Aesthetics and it has spread in the international debate. However, the contribute of historical perspective has not properly explored yet. Is it possible to trace the history of everyday aesthetics before the official birth of this discipline? I will try and give an affirmative answer by focusing on an exemplary category: that of the decorum. Using the history of ideas, I will analyse the Greek concept of (...) prepon and the similar Latin concepts of decorum which express the idea of ‘convenience’ or ‘fitness to purpose’ in the ethical and rhetorical sphere. Later I will analyse the evolution of the concept of decorum in the theory of Ancient and Renaissance architecture. My goal is to demonstrate that in Ancient and Renaissance culture decorum is a category that refers to the objects and practices of everyday life but also a principle that regulates appropriate behaviour in the sphere of good manners. Consequently, given its pervasiveness in the different areas of everyday life, the concept of decorum can be a paradigmatic example to trace the history of everyday aesthetics. (shrink)

The article investigates the potential of mysticism to revitalise theology. It firstly traces how aesthetics was understood in theology and provides reasons for this view. It then investigates how the predominant epistemological approach in theology privileged conceptual knowledge and relativised aesthetics as being subjective and therefore unreliable. It gives special attention to this epistemology by spelling out how the intellectualisation of contemporary theology intensified the process of obfuscating and sidelining aesthetics. In a third part, the article spells out the consequences (...) of this position by analysing how theology is becoming a disenchanted enterprise. The article then investigates how aesthetics often is taking over the role of theology and its formative role in social discourse. It focuses on the epistemological nature of this turn towards aesthetics, arguing that aesthetics with its profound notion of beauty, is increasingly reappraised as a legitimate, but different kind and source of knowledge. The article then argues how aesthetics can reinvigorate theology as a source of knowledge together with conceptual knowledge. It ends by investigating how theology can be re-enchanted by learning from the prominent role and invigorating forms of aesthetics in mysticism. (shrink)

This paper defends two claims. First, we will argue for the existence of aesthetic demands in the realm of everyday aesthetics, and that these demands are not reducible to moral demands. Second, we will argue that we must recognise the limits of these demands in order to combat a widespread form of gendered oppression. The concept of aesthetic supererogation offers a new structural framework to understand both the pernicious nature of this oppression and what may be done to mitigate it.

Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in (...) relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions. (shrink)

Izhajajoč iz hermenevtične fenomenologije Martina Heideggerja, ki pretresa ontološki status umetniških del in se osredotoča na njihov značaj »stvari«, da bi destruirala tradicionalni pomen umetnosti, trdim, da za estetiko vsakdanjosti lahko rečemo, da pripada postheidegerjevski nalogi ponovnega premisleka umetnosti in temeljev estetike. Privzemanje hermenevtičnega pristopa k umetnosti ima za estetiko dvojno posledico: na eni strani širi njen doseg, s tem ko jo razširi onstran območja lepe/visoke umetnosti k vsakdanjim predmetom in izkustvom, in, na drugi strani, meče novo luč na pomen (...) umetniških pojavov za življenje. Menim, da se in navezujeta na dejstvo, da je sama hermenevtika, razumljena kot proces interpretacije, temelj vseh človeških dejavnosti, kar pomeni, da človeška bitja eksistirajo toliko, kolikor pomen svojih življenj izvajajo iz predmetov in izkustev, s katerimi se srečujejo. (shrink)

I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; this common core functions as the constitutive rule of art and institutes an axiological normativity, that is, normativity based on (...) aesthetic value; it has a central role both in the theoretical definition of art and in the identification, recognition, and fruition of the individual artworks; it enables artistic creativity, historical transformations of art, and the current, multifaceted state of art. (shrink)

Tematiko estetike vsakdanjosti so pred nedavnim načeli številni avtorji. Vendar pa vprašanje kaj je dejansko narava vsakdanjosti – v nasprotju z nevsakdanjostjo – in kako ta narava učinkuje na estetiko vsakdanjosti, ni bilo zadovoljivo razdelano. Namen tega eseja je razjasniti vsakdanjost vsakdanjika in združiti obče pojme vsakdanjosti s ključnimi točkami estetike vsakdanjosti.