We make choices about our own appearance and evaluate others' choices – every day. These choices are meaningful for us as individuals and as members of communities. But many features of personal appearance are due to luck, and many cultural beauty standards make some groups and individuals worse off (this is called “lookism”). So, how are we to square these two facets of personal appearance? And how are we to evaluate agency in the context of personal beauty? I identify three (...) ways of responding to these questions: beauty advo- cacy, beauty skepticism, and beauty revisionism. Advocates connect an honorific sense of beauty with personal charac- ter. Skeptics focus on beauty standards, and primarily offer a social critique of beauty standards. Some skeptics suggest embracing other aesthetic ideals – even ugliness. Revision- ists critique beauty standards, but retain an honorific sense of beauty. Each position offers tools to evaluate personal agency as aesthetic agency, whether first-personally or through our appreciation of others' appearance. (shrink)

Nietzsche presents a challenging conception of aesthetics. One of the most well-known discussions on this issue is presented by Heidegger in Der Wille zur Macht als Kunst. In discussing Nietzsche’s aesthetic theory, Heidegger argues that Nietzsche’s reception of Kantian aesthetics is only ever indirect and necessarily mediated by Schopenhauer. His conclusion hinges on what he considers to be a widespread misinterpretation of Kant’s theory of the beautiful, a misinterpretation that begins with Schopenhauer but characterizes all of Kant’s followers, especially Nietzsche. (...) In this paper, I will consider Nietzsche’s position toward aesthetics from a different perspective, namely in the space between Kant’s and Schopenhauer’s position. The argumentation departs from Nietzsche’s early critique of teleology; his first approaches to aesthetics in Die Geburt der Tragödie ; and his position on the concept of causality and morality. As a careful interpretation of GM III 6 will make clear, Heidegger’s claim that Nietzsche misinterprets Kant is made questionable by the fact that Nietzsche here distinguishes Kant from Schopenhauer’s approach and proposes an artist-based aesthetics in which it is rather Stendhal’s idea of beauty as “une promesse de bonheur” which expresses the human need for illusions in Nietzsche’s conception of aesthetics. (shrink)

We find numerous discussions of art and aesthetics stretching from Nietzsche's first book The Birth of Tragedy to his final books of 1888. In what follows, I seek to give an overview of Nietzsche's views. I proceed in a roughly chronological fashion, but try to group key themes together insofar as possible.