One of the oldest platitudes about beauty is that it is pleasant to perceive or experience. In this article, I take this platitude at face value and try to explain why experiences of beauty are seemingly always accompanied by pleasure. Unlike explanations that have been offered in the past, the explanation proposed is designed to suit a “realist” view on which beauty is an irreducibly evaluative property, that is, a value. In a nutshell, the explanation is that experiences of beauty (...) are experiences in which it appears that something is beautiful, and that such experiences are identical to experiences of aesthetic pleasure. (shrink)

Most philosophers of art assume that there are three categories with regard to arthood, namely ‘art’, ‘artful’ and ‘non-art’ and that, therefore, a definition must be able to account for ‘artful items’, also called ‘borderline cases of art’. This article, however, defends the thesis that, since there is no agreement over which items fall under the category ‘artful’, the ability to account for borderline cases of art should not be used as a criterion for evaluating definitions of art. The defended (...) thesis is important, not merely because it reveals that virtually all alleged descriptive definitions of art have strong recommendatory consequences, but also because the thesis has implications for the artefacts that are considered to be borderline cases of art. (shrink)

<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (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)

Many have suggested that, unlike the so-called higher-senses, the lower-senses are not capable of providing aesthetic experience. Supporting this is, what I will call, the Transparency-Exteroceptivity Argument, which says that a necessary feature for aesthetic experience is lacking in the case of the lower-senses, namely transparency/exteroceptivity. I argue, contrary to the Transparency-Exteroceptivity Argument, that olfaction can provide transparent access to the properties of particular external objects. I argue that the Transparency-Exteroceptivity Argument relies on a misleading visuocentric and unimodal view of (...) the senses, is guilty of hasty generalization, and should be rejected. (shrink)

A proof is offered that aims to show that there can be no knowledge of God, excluding knowledge based on natural theology, without divine self-testimony. Both special and general revelation, if they occur, would be forms of divine self-testimony. It is argued that this indicates that the best way to model such knowledge of God is on the basis of an analogy with knowledge gained through testimony, rather than perceptual models of knowledge, such as the prominent model defended by Plantinga. (...) Appropriate causal chains and reliable cognitive processes only seem at best to ensure that a belief proposed for acceptance is the belief the testifier wants accepted; they do not ensure that it is rational to accept the belief. This particularly applies where there is much at stake, where it seems rational to seek some form of evidence, if available. Some brief comments are made on Trinitarian self-testimony. Another model of the ‘inner witness’ is briefly sketched out, based on the analogy with conscience. This model may capture some of the features of Plantinga’s approach, but leaves room for a free rejection of divine self-testimony, in a way that the perceptual analogy does not. A point connected to Plantinga’s aims is then made about the link between evidence, value and divine self-testimony, in relation to religious experience. Finally, it is suggested that the earlier proof may apply in a particular sense to all knowledge of God, including that based on natural theology. (shrink)

In his discussion of conversion experience, in The Varieties of Religious Experience, William James draws attention to a variety of experience which has not been much investigated in the philosophy of religion literature, but which seems to be of some importance religiously—namely, an experience which consists in a re-vivification of the sensory world as a whole. In this paper, I develop four accounts of the nature of this kind of experience, and I show how the experience can inform our conception (...) of the spiritual life, considered as a world-directed mode of experience and practice. (shrink)

We argue that considering only a few ‘big’ ethical decisions in any engineering design process — both in education and practice — only reinforces the mistaken idea of engineering design as a series of independent sub-problems. Using data collected in engineering design organisations over a seven year period, we show how an ethical component to engineering decisions is much more pervasive. We distinguish three types of ethical justification for engineering decisions: (1) consequential, (2) deontological or non-consequential, and (3) virtue-based. We (...) find that although there is some evidence for engineering designers as ‘classic’ consequentialists, a more egocentric consequentialism would appear more fitting. We also explain how the idea of a ‘folk ethics’ — a justification in the second category that consciously weighs one thing with another — fits with the idea of the engineering design process as social negotiation rather than as technological progress. (shrink)

There have been more articles on Kant's aesthetics in the history of the Journal than on the next four leading figures in the history of aesthetics combined. I argue that this is because Kant's aesthetic theory consists of multiple levels of theory that makes it accessible to and important for multiple approaches to the subject itself. Continuing issues for both Kant interpretation and for aesthetics in general arise at each of these levels, including the plausibility of the claim to universal (...) validity in judgments of taste, the nature of the free play of the imagination in aesthetic experience, the character of aesthetic pleasure, the proper objects of aesthetic judgment, and the moral significance of aesthetic experience. (shrink)

I explore some of the reasons why, under specific circumstances, it may be rational to make-believe or imagine certain religious beliefs. Adopting a jargon familiar to certain contemporary philosophers, my main concern here is to assess what reasons can be given for adopting a fictionalist stance towards some religious beliefs. My understanding of fictionalism does not involve solely a propositional attitude but a broader stance, which may include certain acts of pretence. I also argue that a plausible reason to be (...) fictionalist about a specific set of religious beliefs and practices has to do with the value of some artistic creations; namely, those that require the adoption of a religious point of view for their understanding. (shrink)

Traditionally, the sense of touch—alongside the senses of taste and smell—has been excluded from the aesthetic domain. These proximal modalities are thought to deliver only sensory pleasures, not the complex, world-directed perceptual states that characterize aesthetic experience. In this paper, I argue that this tradition fails to recognize the perceptual possibilities of haptic touch, which allows us to experience properties of the objects with which we make bodily contact, including their weight, shape, solidity, elasticity, and smoothness. These features, moreover, may (...) be indicative of how well-suited an object is for its function, and in feeling them we can thus feel the positive aesthetic quality of functional beauty. (shrink)

In a recent discussion of disenchantment and re-enchantment Charles Taylor suggests that it is possible to respond to the disenchanted view of the world, in which meaning and value are understood as subjective projections, by articulating a re-enchanted sense of nature or the universe from the perspective of human ‘agency-in-the-world’, in which meaning and value are objective. The question I address in this thesis is, what could it mean to articulate a re-enchantment from within our ‘agency-in-the-world’? In Chapter One I (...) examine the work of John McDowell in order to explore the possibility that he gives sense to the idea of a re-enchantment from within our agency-in-the-world. I conclude that he provides one way of doing so. However I argue that McDowell’s naturalism of second nature can seem limited as it does not address the ‘proto-religious’ dimension to Taylor’s understanding of re-enchantment. In Chapter Two I turn to the work of Roger Scruton to consider whether he provides a re-enchantment from within our agency-in-the-world that does accommodate this proto-religious dimension. I conclude that he does, but raise concerns about how convincing Scruton’s re-enchantment is. I argue that, from a McDowellian point of view, a case can be made that Scruton implicitly accepts as true certain significant elements of the disenchanted view of the world. In Chapter Three I look to the later Heidegger for an alternative re-enchantment from within our agency-in-the-world that attempts to accommodate the proto-religious. I focus on two interpretations of the later Heidegger given by Julian Young and Charles Taylor. In response to a worry put forward by Young, I argue that Charles Taylor’s interpretation can accommodate a proto-religious dimension. In my Conclusion I argue that McDowell’s naturalism of second nature and the understanding of our agency-in-the-world as presented by Taylor’s Heidegger, form interestingly continuous re-enchantments. On this basis I argue that although McDowell himself does not extend his idea of second nature to accommodate the proto-religious, the example of later Heidegger shows that there is nothing inherently limited about the framework of second nature that means it cannot be extended to encompass important proto-religious responses to the world. (shrink)

The claim that God is perfectly beautiful has played a key role within the history of a number of religious traditions. However, this view has received surprisingly little attention from philosophers of religion in recent decades. In this article I aim to remedy this neglect by addressing some key philosophical issues surrounding the doctrine of divine beauty. I begin by considering how best to explicate the claim that God is perfectly beautiful before moving on to ask what consequences accepting this (...) claim will have for our broader theorizing in philosophy. (shrink)

The relationship between architecture and urban centers and concepts such as community and identity is undeniably complex and has been described, by both philosophers and architectural theorists, in radically different ways. In this essay, I will focus on the contrast between the role of architecture and cities as providers of a sense of identity while also emphasizing the risks associated with this conception. I will begin with an overview of a few theories arguing—on aesthetic, moral, and functional grounds—for the necessity (...) of a connection among architecture, identity, and community. I will then move, in the second part, to what can be seen as the critical and theoretical dismantling of such a notion: a dismantling that, however, does not end the discussion of identity as much as it problematizes it. Architecture and urbanism, I aim to show, are still discussing the means and terms of the debate on identity, but the interpretation of such a concept has changed in significant ways. Specifically, in the second and last section of the essay, I will argue for what I will refer to as a terminological and conceptual change: for if identity is lost, or too ambitious a goal, identification, and the practices leading to it are still “in the making.” Learning to identify might be even harder than finding identity, but it has become an essential skill in our present, multicultural, and dangerously fluctuating society. (shrink)

Vu l'intérêt croissant que l'on porte aux questions éthiques dans le monde contemporain, on ne s'étonne plus de voir se multiplier les travaux qui discutent la façon dont ces questions se posent dans telle ou telle discipline. Or parmi celles-ci, l'architecture occupe une place assez particulière. Dans la mesure où l'on a affaire à l'un des beaux-arts, il ne va pas de soi que l'on puisse attribuer à l'architecture une fonction éthique, tant il est vrai que l'artiste authentique est en (...) droit de revendiquer une sorte de liberté qui se prête mal au respect inconditionnel d'impératifs d'origine morale. Toutefois, comme l'architecture est un art dont le propre est de répondre à un besoin fondamental de l'être humain, soit celui de trouver un abri et un lieu propice à l'habitation, au travail, à l'étude, au recueillement, à la détente ou à quelque autre activité jugée importante, les architectes ont rarement eu beaucoup de mal à se reconnaître une sorte de responsabilité sociale susceptible de conférer à leur travail une authentique dimension éthique. (shrink)