In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According to her update (...) of Kantian aesthetics, beauty is grounded in indeterminate yet systematic principles of perception and cognition. However, Kant’s aesthetic theory rested on a notion of indeterminacy whose consequences for understanding the nature of art were implausible. McMahon conceptualizes "indeterminacy" in terms of contemporary philosophical, psychological, and computational theories of mind. In doing so, she develops an aesthetic theory that reconciles the apparent dichotomies which stem from the tension between the determinacy of communication and the indeterminacy of creativity. Dichotomies such as universality and subjectivity, objectivity and autonomy, cognitivism and non-cognitivism, and truth and beauty are revealed as complementary features of an aesthetic judgment. (shrink)

Human Beauty 3. Natural Beauty 4. Everyday Beauty 5. Artistic Beauty 6. Taste and Order 7. Eros and Art 8. Sacred Beauty Notes and Further Reading.

In Physical Realization, Sydney Shoemaker considers the question of how physicalism can be true: how can all facts about the world, including mental ones, be constituted by facts about the distribution in the world of physical properties? Physicalism requires that the mental properties of a person are 'realized in' the physical properties of that person, and that all instantiations of properties in macroscopic objects are realized in microphysical states of affairs. Shoemaker offers an account of both these sorts of realization, (...) one which allows the realized properties to be causally efficacious. He also explores the implications of this account for a wide range of metaphysical issues, including the nature of persistence through time, the problem of material constitution, the possibility of emergent properties, and the nature of phenomenal consciousness. (shrink)

Kant and the Claims of Taste, published here for the first time in paperback in a revised version, has become, since its initial publication in 1979, the standard commentary on Kant's aesthetic theory. The book offers a detailed account of Kant's views on judgments of taste, aesthetic pleasure, imagination and many other topics. For this new edition, Paul Guyer has provided a new foreword and has added a chapter on Kant's conception of fine art. This re-issue will complement the author's (...) companion volume, Kant and the Experience of Freedom, which places Kant's aesthetics in its historical context and examines the fundamental connection between Kant's aesthetics and his moral theory. (shrink)

This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of (...) pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

Brought about through philosophical analysis – a first in the history of art – paradigm shifts in the ontology and epistemology of sculpture are described, motivated, and exemplified with pieces they inspired. Navigating the new aesthetic environment requires an ‘escape from Plato's Cave’ by means of a kind of phenomenological reduction. The new conceptual foundation allows artists unprecedented levels of freedom to explore and innovate, connects sculpture to music, and has the potential to enhance significantly the appreciation of art and (...) its impact on contemporary culture. The algorithmic nature of my paradigms shows that art and science have more in common than previously thought. (shrink)

I explicate and defend the claim that, fundamentally speaking, there are no numbers, sets, properties or relations. The clarification consists in some remarks on the relevant sense of ‘fundamentally speaking’ and the contrasting sense of ‘superficially speaking’. The defence consists in an attempt to rebut two arguments for the existence of such entities. The first is a version of the indispensability argument, which purports to show that certain mathematical entities are required for good scientific explanations. The second is a speculative (...) reconstruction of Armstrong's version of the One Over Many argument, which purports to show that properties and relations are required for good philosophical explanations, e.g. of what it is for one thing to be a duplicate of another. (shrink)