What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...) This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

What is the nature of the concept BEAUTY? Does it differ fundamentally from nearby concepts such as PRETTINESS? It is argued that BEAUTY, but not PRETTINESS, is a dual-character concept. Across a number of contexts, it is proposed that BEAUTY has a descriptive sense that is characterised by, inter alia, having intrinsically pleasing appearances; and a normative sense associated with deeply-held values. This account is supported across two, pre-registered, studies (N=500), and by drawing on analysis of corpus data. It is (...) suggested that this can help to explain why beauty, unlike prettiness, is thought to be deep in both the sense of being important, and in the sense of being less closely tied to sensory surfaces. (shrink)

This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...) there are different kinds of aesthetic experiences . By means of certain conceptual links, it is possible to extend this account to other aesthetic entities thus enabling the formulation of a general theory of the aesthetic in non-aesthetic terms. In particular, aesthetic values are identical with subjective dispositions to elicit aesthetic experiences under normal conditions. Accordingly, I endorse anti-realism about aesthetic values: their existence, nature and exemplification are mind-dependent, while their ascriptions to objects have genuine truth-values. I back up this account by arguing against the alternative positions that either take aesthetic values to be objective or deny the truth-aptness of their attributions. Furthermore, I put forward a relativist variant of anti-realism according to which ascriptions of different aesthetic values to a particular object are all correct, given that the aesthetic experiences involved are made under normal conditions and concern the same aesthetically nonevaluative features of that object. For there is no specifically aesthetic norm by means of which one of the faultless aesthetic experiences can be picked out as the only appropriate one. That aesthetic values nevertheless show a normative dimension is ensured by their conformity to a general account of values as capacities to satisfy, or dissatisfy, rational desires. (shrink)

The relationship between aesthetic value and other moral and cognitive values has been a key theme within contemporary aesthetic discussion. In this article, I explore once again the implications of this relationship, but from what I think might be a different angle. With few exceptions, notably Dominic Lopes, most of the contributions to this issue have dealt with the impact that moral or cognitive values could possibly have on the overall aesthetic value of a work of art. In this article, (...) I explore instead how aesthetic properties or merits could play a role in explaining moral and cognitive properties. To do so, I first offer some examples that I think may reasonably exemplify the phenomenon we are considering. Second, I argue that a proper account of interactionism should meet at least two constraints: the relevance constraint and the autonomy constraint. Finally, I try to clarify how it is possible that aesthetic properties substantially contribute to other values by appealing to the notions of expression and the affective character of aesthetic properties. (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)

Mimarlık diğer sanat dallarından iki bakımdan ayrılır. İlk olarak mimari yapıtlarla etkileşim kaçınılmazdır. Müzik dinlemeden, tiyatro veya sinemaya gitmeden, resim veya heykel sergilerini gezmeden yaşamımızı sürdürebiliriz ancak mimari yapılar olmadan bu olanaklı olmaz. Bu bakımdan mimarlık sanatlar içinde belki de insan yaşamını en fazla etkileyen daldır. İkinci olarak mimarlık bir yaşam gereksinimini karşılayan, böyle bir işlevi olan belki de tek sanat dalıdır. Örneğin resim, heykel, şiir, sinema veya tiyatro yapıtlarını sanatsal açıdan değerlendirirken hangi gereksinimimizi karşıladıkları sorusunu sormayız. Buna karşılık mimari (...) yapılar barınma başta olmak üzere bir dizi maddi gereksinimimizi karşılarlar. Hangi gereksinimi karşılamak amacıyla yapıldıkları sorusu onların sanatsal açıdan değerlendirilmesinde önem taşır. Bu yazıda mimarlığın sanatlar içindeki bu iki özgünlüğünü dikkate alan bir düşünürün, Ömer Naci Soykan'ın mimarlık konusundaki görüşlerini sırasıyla “mimarlıkta temel nitelikler”, “mimarlık etkinliği”, “mimarlık dili” ve “mimarlık estetiği” başlıkları altında ele alacağız. (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)

The main purpose of the following inquiry is to emphasise the importance of a phenomenon long neglected by the majority of the human sciences, the artefact; each one of us, no matter what age, sex or culture, is in contact with artefacts every moment of our lives yet despite this they have received scant attention. The study begins by outlining a definition of the artefact, highlighting those characteristics which, in combination, ensure its centrality to social life before, through a discussion (...) of Popper's ideas, proceeding to see how material culture can be conceptualised as meaningful. In order to understand how meaning becomes attached to the artefact the notion of objectification will be analysed and, consequently, so shall the importance of both the type of activity and the physical nature of the materials involved in the artefact's production. Picking up on the theme of materiality this aspect of material culture will be shown to pose major problems to any interpretation of the artefact along semiological lines; language and material culture are evinced to possess fundamentally distinct characteristics which make comparisons between them far from straightforward. These differences will be analysed further, concentrating specifically on the role of context in the establishment of meaning. This leads on to the proposal that our understanding of artefacts can occur on three levels; three forms of knowledge are thus described of which a linguistically formulated type constitutes just one kind. The penultimate chapter tackles the ways in which artefacts affect us, how they are active elements in our relationships with them; therefore, a dialectical position is postulated in which both artefacts and agents take part. Finally, the study concludes by stressing some of its wider implications and suggests a few of the practical situations to which it can be applied. (shrink)

Central issues in philosophy of architecture include foundational matters regarding the nature of: (1) architecture as an artform, design medium, or other product or practice; (2) architectural objects—what sorts of things they are; how they differ from other sorts of objects; and how we define the range of such objects; (3) special architectural properties, like the standard trio of structural integrity (firmitas), beauty, and utility—or space, light, and form; and ways they might be special to architecture; (4) architectural types—how to (...) consider abstract groups of architectural objects and their instances; (5) meaning and other language-like phenomena in architecture and its objects; (6) formation of and warrant for our basic grasp, and considered judgment, of architectural objects; and (7) social and moral features of architectural objects and architectural practice. Yet other questions engage applied philosophical concerns regarding architecture, such as the character of architectural notation; intellectual property rights; and client-architect obligations. A far-reaching philosophy of architecture extends beyond even a broadly aesthetics-based assessment, to include considerations of ethics, social and political philosophy, and philosophical reflections on psychology and the behavioral sciences. The aesthetics of architecture, by itself, spans traditional issues mooted in philosophy of art, as well as aesthetics of the everyday, and environmental aesthetics. Such traditional issues include the nature of the work; the possibility of classes, kinds, or types in the domain; the character and roles of representation, intentionality, and expression; and the warranted foundations for criticism. The ethics of architecture also addresses traditional issues, including delineation of rights, responsibilities, the good, virtues, and justice in architectural milieus. Still other aspects of philosophy of architecture concern social and technological characteristics. (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)

In this thesis the appropriate aesthetic evaluation of designed landscapes is explored. The overarching research question for this thesis is: What is an appropriate appreciation of a designed landscape as a designed landscape? This overarching research question is split into sub-questions. The first sub-question is: What is the current theoretical basis for the aesthetic evaluation of designed landscapes and does it provide appropriate arguments for aesthetic evaluations? Two important points about the aesthetic evaluation of designed landscapes were found in the (...) existing literature on environmental aesthetics and in critical evaluations of designed landscapes. Modern environmental aesthetics is focussed on natural environments as it has been shaped in response to early 20th century aesthetics, which was dominated by questions on art. The designed landscape phenomenologically related more to environments, but is ontologically closely related to artworks. Designed landscapes thus fall between two fields. The designed landscape has gone largely unacknowledged by philosophers and geographers. The lack of a specific theory for the appropriate appreciation of designed landscapes has made it easier for landscape architects and critics to miss out on the current insights of environmental aesthetics, leading to the inconsistent belief among landscape architects and landscape architecture critics that landscapes are scenic entities. Actual design criticism as offered in the Landscape Architecture Europe books is shown to be based on the inconsistent belief that aesthetic experiences of works of landscape architecture are mostly visual. To explore what an appropriate appreciation should be based in, first the ontology and phenomenology of one example, the post-war design for the landscape of Walcheren, is described and discussed. To explore its ontology, a literature research has revealed the design process and decisions. To explore the phenomenology, the descriptions of two walks on the island made by the author were analysed. The descriptions of ontology and phenomenology of Walcheren offer insights into the relevance for the aesthetic evaluation of this landscape of being designed and of the sensorial richness of this designed landscape. In both fields of ontology and phenomenology insights into aesthetic value go beyond the visible. The second and third part of the research answers the sub-questions about appropriate appreciation regarding respectively ontology and phenomenology of designed landscapes in general. The literature on topics adjacent to the field of landscape architecture, such as design and architecture aesthetics, was surveyed for aspects that might also be relevant for the aesthetic evaluation of landscape architecture. These aspects were then weighed according to a philosophical method of reasoning from first principles. Starting from a principle of appropriate appreciation, different cues were tested to see whether or not they have to be considered in such an appropriate appreciation. Following descriptions of the True Appreciation Principle (TAP) as provided by Lopes, cues were tested against the Appropriate Appreciation Principle for Designed Landscapes (AAP-DL): An appreciation of landscape L as a designed landscape is appropriate only as far as it does not depend counterfactually on any belief that is inconsistent with the truth about the nature of designed landscapes. Examples are provided where cues can influence one’s evaluation, and evaluation thus depends counterfactually on those taking those cues into account. If something might influence one’s evaluation one should consider it. The exploration has provided important cues for the aesthetic evaluation of designed landscapes. The findings are the base of an evaluative framework that takes into account the ontology and phenomenology of designed landscapes in order to evaluate designed landscapes according the AAP-DL. A discussion is provided on the importance of such an appropriate appreciation for different audiences. (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)

This essay deals with the terms “form” and “function” as well as their relationship insofar as they are still used in philosophical and design-theory discourse to determine the aesthetic dimension of designed artefacts, especially of everyday objects, and often also to distinguish them from objects of art. I discuss whether our common understanding of these terms and their relationship is an appropriate instrument for such determinations. What is up for discussion here are not only conceptions of functional beauty with regard (...) to design methodology and the philosophical discourse on aesthetics, in which form and function become thematic, but also basic concepts of philosophical aesthetics itself. It is shown that the philosophical understanding of design aesthetics and the concepts of form and function are determined by profound preliminary decisions that restrict our access to the aesthetic dimension of designed artefacts, and a conceptualisation of an initial change in thinking is proposed. (shrink)

Computer vision research involving street and road detection methods usually focuses on driving assistance and autonomous vehicle systems. In this context, street segmentation occurs in real-time, based on images centered on the street. This work, on the other hand, uses street segmentation for urban planning research to classify pavement types of a city or region, which is particularly important for developing countries. For this application, it is needed a dataset with images from various locations for each street. These images are (...) not necessarily centered on the street and include challenges that are not common in street segmentation datasets, such as mixed pavement types and the presence of faults and holes on the street. We implemented a multi-class version of a state-of-the-art segmentation algorithm and adapted it to perform street pavement classification, handling navigation along streets and angle variation to increase the accuracy of the classification. A data augmentation approach is also proposed to use preliminary results from the test instances as new ground truth and increase the amount of training data. A dataset with more than 300,000 images from 773 streets from a Brazilian city was built. Our approach achieved a precision of 0.93, showing the feasibility of the proposed application. (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)

This study is an inquiry into design-theoretical aspects of architectural design in Finland based mainly on the pragmatist philosophy of John Dewey. The study comprises two case studies. The. rst case deals with a young family designing their future home – a detached house built from prefabricated components – in cooperation with an architect. The second case deals with the design process of a leading Finnish architect, Professor Ilmari Lahdelma, as he prepares his proposal for an architectural competition for a (...) new city library in Lohja, a competition he eventually wins. The case describes and interprets Lahdelma’s design process, the processes of other competition entries made by the of. ce staff, as well as the process of the jury’s evaluation of the competition entries. The two cases are analysed and interwoven with aspects from three different theoretical perspectives: existing design theories, Pierre Bourdieu’s. eld theory and John Dewey’s thinking regarding art and research. In the study I argue that Dewey’s philosophy can provide a framework for a design-theoretical epistemology. I also arrive at conclusions regarding the interpretation of some key design-theoretical concepts and the position of design theory and its structures. I further argue that the Finnish architectural competition system is a strong tool for generating developments in the production of the architectural avant-garde, which acts as the leading light for the rest of the. eld of architecture. The present study also highlights the gap between ‘high-’ and ‘low culture’ in the. eld of architecture, yet points out that the design of a simple family house – assumedly a case of ‘low culture’ – is by no means trivial to the family itself, and is indeed. lled with moments of aesthetic experiences, which is a central issue in Dewey’s description of creative processes. (shrink)