Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can (...) exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

In the Critique of Judgement, Kant offers a penetrating analysis of our experience of the beautiful and the sublime. He discusses the objectivity of taste, aesthetic disinterestedness, the relation of art and nature, the role of imagination, genius and originality, the limits of representation, and the connection between morality and the aesthetic. He also investigates the validity of our judgements concerning the degree in which nature has a purpose, with respect to the highest interests of reason and enlightenment. The work (...) profoundly influenced the artists, writers, and philosophers of the classical and romantic period, including Hegel, Schelling, Schopenhauer, and Nietzsche. In addition, it has remained a landmark work in fields such as phenomenology, hermeneutics, the Frankfurt School, analytical aesthetics, and contemporary critical theory. Today it remains an essential work of philosophy, and required reading for all with an interest in aesthetics. (shrink)

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

Immanuel Kant's moral philosophy is one of the most distinctive achievements of the European Enlightenment. At its heart lies what Kant called the "strange thing": the free rational human will. This introduction explores the basis of Kant's anti-naturalis, secular, moral vision of the human good. Moving from a sketch of the Kantian will, with all its component parts and attributes, to Kant's canonical arguments for his categorical imperative, it shows why Kant thought his moral law the best summary expression of (...) both his own philosophical work on morality and his readers' deepest shared convictions about the good. Kant's central tenets, his key arguments, and core values are presented in an accessible and engaging way, making this book ideal for anyone eager to explore the fundamentals of Kant's moral philosophy. (shrink)

Immanuel Kant's moral philosophy is one of the most distinctive achievements of the European Enlightenment. At its heart lies what Kant called the 'strange thing': the free, rational, human will. This introduction explores the basis of Kant's anti-naturalist, secular, humanist vision of the human good. Moving from a sketch of the Kantian will, with all its component parts and attributes, to Kant's canonical arguments for his categorical imperative, this introduction shows why Kant thought his moral law the best summary expression (...) of both his own philosophical work on morality and his readers' deepest shared convictions about the good. Kant's central tenets, key arguments, and core values are presented in an accessible and engaging way, making this book ideal for anyone eager to explore the fundamentals of Kant's moral philosophy. (shrink)

Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can (...) exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

Does one have special obligations to support the political institutions of one’s own country precisely because it is one’s own? In short, does one have political obligations? This book argues for an affirmative answer, construing one’s country as a political society of which one is a member, and a political society as a special type of social group. The obligations in question are not moral requirements derived from general moral principles. They come, rather, from one’s participation in a special kind (...) of commitment: a joint commitment. This theory is referred to as the plural subject theory of political obligation since, by the author’s definition, those who are party to any joint commitment constitute a plural subject of some action in a broad sense of the term. Several alternative theories are compared and contrasted with plural subject theory, with a particular focus on the most famous — actual contract theory — according to which membership in a political society is a matter of participation in an agreement. The book offers plural subject accounts of both social rules and everyday agreements, and includes discussion of political authority and punishment. (shrink)

Essays explore the philosophy of art, the definition of a work of art, the aims of art criticism, and the nature of creativity.

This chapter contains sections titled: Punctured History Cultural Meaning Individual Meaning Self‐Expression and Double Skin Inescapable Seriousness.

This chapter contains sections titled: What if Tattooing is Immoral? Latent Criminals or Degenerate Aristocrats Loos and Amorality Tattooing is Like Murdering? Loos and the Crime of Ornamentation Tattooing and Personal Meaning Tattooing and Liberal Autonomy Attraction and Repulsion.

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

This chapter contains sections titled: A Permanent Collection? The Phenomenology of Determining a Changing Object in a Moving Subject Visible Freedom: Nineteenth‐Century German Aesthetic Theories and Legacies Transformation A Lasting Impression.

This chapter contains sections titled: Questions of Identity1 Personal Identity Across Time Somatic and Psychological Accounts Tattoos and the Somatic Account Narrative Identity Tattoos of Anchors … and Anything Else as Anchors When You Get a Tattoo, You Tattoo You.

This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art has increasingly turned its attention (...) to the issues that arise from particular art forms. I will also draw on some ideas developed in art history and theory, which have a suitably philosophical, that is, general or foundational, character. There are many philosophical issues that arise equally from painting and other art forms, but for just this reason, they are best addressed in a broader cross-art-form context, and I will mostly avoid dealing with them here. Instead, I will focus on issues that arise solely or with a special force from a consideration of painting. It will be helpful to roughly arrange these in two categories. The first is representation; the second is form. We shall see that these categories are difficult to keep separate with regard to painting and overlap at various points. (shrink)