Abstract: Every sentient organism needs constantly to re-assess its environment in order to adjust to any changes in it and to ascertain which aspects are, or become, salient for its current purposes. Such adaptation is of basic evolutionary importance, but for human beings it can be difficult to achieve in the face of radical novelty or when different frames of reference are in conflict. Art by virtue of its integrated structure presents examples of how a partial unification of experience may (...) be envisaged. Art thus helps to meet our constant need for orientation and re-orientation, though its operation in this respect is invariably outside consciousness. So art can be said to have intrinsic value only within a strictly subjective, phenomenological perspective; more broadly considered from a third-person viewpoint, the value of art is instrumental. Questions then arise concerning our motivation for seeking or producing art, about the relation of art to other cultural activities, and about the role of pleasure in connection with aesthetic experience; these are briefly discussed. (shrink)

Surely amongst the most exciting and vindicating features of philosophy and criticism of art are the interactions that they have with the actual practices of art. The histories of art and current discussions about art are dotted with special moments in which philosophers or critics—from Ruskin through to Danto and beyond—become influenced, or were influenced by, the art of their times. More curious—and less common still—is the influence of philosophy of art on art criticism, or the other way around. The (...) guidance or sway of one relative to the other is sporadic and not clearly or universally welcome. Identifying significant instances of such influence should prompt the re-examination of connections between the two endeavors, in historical and normative terms.Michalle Gal offers just such a prompt. Her study of the nineteenth century Aestheticism of Pater, Wilde, and Whistler takes that critical movement as precursor to another critical movement, the early formalism of Fry and Bell. In her recasting of this history of criticism, the two movements are joined by a philosophy which she terms ‘Deep Formalism’. (shrink)

The value of the arts is often measured in terms of human creativity against instrumental rationality, while art for art's sake defends against a utility of art. Such critiques of the technical and formulaic are themselves formulaic, repeating the dualism of the head and the heart. How should we account for this formula? We should do so by investigating its determination within metaphysical and social relations, ancient and modern, and by comprehending the notion of freedom carried therein. This opens up (...) the value of the arts to a modern metaphysics and modern notion of freedom. This value, and this freedom, find currency in a notion of philosophical and political education, and especially in a modern conception of liberal arts education, where freedom is to learn. (shrink)

This article identifies three distinct temporal notions in Hume’s aesthetics: passing the test of time, repeated viewing of a work, and the personal aging of the critic. It applies these ideas to the evaluation and enjoyment of films. It characterizes positive, negative, and ambivalent film aging, which are associated with nostalgia, boredom, and comic amusement, respectively, and which bear on our enjoyment, not evaluation, of film. The paper discusses Allen’s Zelig, Antonioni’s La Notte, Cameron’s The Terminator, Lucas’s Star Wars, Scorsese’s (...) Taxi Driver, Spielberg’s E.T.: The Extra-Terrestrial, and Renoir’s La Règle du Jeu. (shrink)