Ame Naess, John Rodman, George Sessions, and others, designated herein as ecosophers, propose an egalitarian anti-anthropocentric biocentrism as a basis for a new environmental ethic. I outline their “hands-off-nature” position and show it to be based on setting man apart. The ecosophic position is thus neither egalitarian nor fully biocentric. A fully egalitarian biocentric ethic would place no more restrictions on the behavior of human beings than on the behavior of any other animals. Uncontrolled human behavior might lead to the (...) destruction ofthe environment and thus to the extinction of human beings. I thus conclude that human interest in survival is the best ground on which to argue for an ecological balance which is good both for human beings and for the whole biological community. (shrink)

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...) art's subversiveness, its challenge against the Modern separation of art and life appears more radical than Riggle foresees. (shrink)

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not always (...) in virtue of its challenging the co-opting of public space by commercial art. (shrink)

This treatise on aesthetics begins by showing that the word "art" is used as a name not only for "art proper" but also for certain things which are "art falsely so called." These are craft or skill, magic, and amusement, each of which, by confusion with art proper, generates a false aesthetic theory. In the course of attacking these theories the author criticizes various psychological theories of art, offers a new theory of magic, and reinterprets Plato's so-called "attack on art," (...) showing that it has been entirely misunderstood. Finally, he draws important inferences concerning the position of art in human society. (shrink)

In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers a new way of looking at art and beauty. He draws on the thought of artists, critics, and philosophers such as Rimbaud, Fry, Matisse, and Greenberg, to reposition beauty as one of many modes -- along with sexuality, sublimity, disgust, and horror -- through which the human sensibility expresses itself. 20 black-and-white illustrations are included.

"Developed from the author's Philosophy is a new key." Bibliography: p. 417-428.

In Venus in Exile renowned cultural critic Wendy Steiner explores the twentieth century's troubled relationship with beauty. Disdained by avant-garde artists, feminists, and activists, beauty and its major symbols of art—the female subject and ornament—became modernist taboos. To this day it is hard to champion beauty in art without sounding aesthetically or politically retrograde. Steiner argues instead that the experience of beauty is a form of communication, a subject-object interchange in which finding someone or something beautiful is at the same (...) time recognizing beauty in oneself. This idea has led artists and writers such as Marlene Dumas, Christopher Bram, and Cindy Sherman to focus on the long-ignored figure of the model, who function in art as both a subject and an object. Steiner concludes Venus in Exile on a decidedly optimistic note, demonstrating that beauty has created a new and intensely pleasurable direction for contemporary artistic practice. (shrink)

Recent work examining and expanding traditional accounts of a virtue has been used as the foundation for a virtue-based approach to epistemology. A similar approach to aesthetics yields some striking features, which coincide with contemporary philosophical concerns about the nature and definition of art. Those writing on virtue-based epistemology have offered epistemic theories based on intellectual virtues, defining knowledge from the nature of such virtues. This basic program can be applied to aesthetics so that art is defined using a virtue (...) theory of aesthetics. I will propose and examine the nature and structure of one such theory. I argue here that an approach to aesthetics, which defines art according to aesthetic virtues, would have characteristics that fit well with the value and interests we have about art. (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

Philosophy and painting: Hegel and Manet -- Politics and ontology: Clark and Fried -- Art and truth: Heidegger and Hegel.

Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...) engaged with the arts and aesthetics. (shrink)

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

Ecologically responsible policies are concerned only in part with pollution and resource depletion. There are deeper concerns which touch upon principles of diversity, complexity, autonomy, decentralization, symbiosis, egalitarianism, and classlessness.

The book also includes a chronological table of significant events, select bibliography, succinct explanatory notes, and an index--all of which supply ...

The most important work of the famed German philosopher, this 1841 polemic asserts that religion and divinity are outward projections of inner human nature. Feuerbach's critique of Hegelian idealism excited immediate international attention — Marx and Engels were particularly influenced. This acclaimed translation is by the celebrated English novelist George Eliot.

Mitchell S. Green presents a systematic philosophical study of self-expression - a pervasive phenomenon of the everyday life of humans and other species, which has received scant attention in its own right. He explores the ways in which self-expression reveals our states of thought, feeling, and experience, and he defends striking new theses concerning a wide range of fascinating topics: our ability to perceive emotion in others, artistic expression, empathy, expressive language, meaning, facial expression, and speech acts. He draws on (...) insights from evolutionary game theory, ethology, the philosophy of language, social psychology, pragmatics, aesthetics, and neuroscience to present a stimulating and accessible interdisciplinary work. (shrink)

Friedrich Nietzsche is one of the most influential thinkers of the past 150 years and On the Genealogy of Morality (1887) is his most important work on ethics and politics. A polemical contribution to moral and political theory, it offers a critique of moral values and traces the historical evolution of concepts such as guilt, conscience, responsibility, law and justice. This is a revised and updated edition of one of the most successful volumes to appear in Cambridge Texts in the (...) History of Political Thought. Keith Ansell-Pearson has modified his introduction to Nietzsche's classic text, and Carol Diethe has incorporated a number of changes to the translation itself, reflecting the considerable advances in our understanding of Nietzsche in the twelve years since this edition first appeared. In this new guise the Cambridge Texts edition of Nietzsche's Genealogy should continue to enjoy widespread adoption, at both undergraduate and graduate level. (shrink)

A classic of 18th-century thought, Schiller’s treatise on the role of art in society ranks among German philosophy’s most profound works. An important contribution to the history of ideas, it employs a political analysis of contemporary society—and of the French Revolution, in particular—to define the relationship between beauty and art. Schiller’s proposal of art as fundamental to the development of society and the individual remains an influential concept, and this volume offers his philosophy’s clearest, most relevant expression. Translated and with (...) an introduction by Reginald Snell. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

Twilight of the Idols. Nietzsche's own unabashed appraisal of the last work intended to serve as a short introduction to the whole of his philosophy, and the most synoptic of all his books, bristles with a register of vocabulary derived from physiology, pathology, symptomatalogy and medicine. This new translation is supplemented by an introduction and extensive notes, which provide close analysis of a highly condensed work.

Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...) of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel. (shrink)

Many philosophers have been interested in aesthetics, but Collingwood was passionate about art. His theories were never merely theoretical: aesthetics for him was a vivid, vibrant thing, to be experienced immediately in worked paint and in sculptured stones, in poetry and music. Art and life were no dichotomy for Collingwood - for how could you have one without the other? Works of art were created in and for the real world, to be enjoyed by real people, to enchant to enhance. (...) Aaron Ridley's fascinating introduction opens up the work of this most rewarding of aesthetic thinkers, tracing his thought from its philosophic origins through to its practical consequence and ethical implications. The man who saw art as 'the community's medicine for the worst disease of mind' had a sense of its urgent importance which we ignore at our peril today. (shrink)

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

Schiller's 1795 essay on the educative function of art is one of the most important contributions to the history of ideas in modern times. This English-German parallel text edition includes a long analytical introduction and extensive notes.

Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...

Ame Naess, John Rodman, George Sessions, and others, designated herein as ecosophers, propose an egalitarian anti-anthropocentric biocentrism as a basis for a new environmental ethic. I outline their “hands-off-nature” position and show it to be based on setting man apart. The ecosophic position is thus neither egalitarian nor fully biocentric. A fully egalitarian biocentric ethic would place no more restrictions on the behavior of human beings than on the behavior of any other animals. Uncontrolled human behavior might lead to the (...) destruction ofthe environment and thus to the extinction of human beings. I thus conclude that human interest in survival is the best ground on which to argue for an ecological balance which is good both for human beings and for the whole biological community. (shrink)

There is an international deep ecology social movement with key terms, slogans, and rhetorical use of language comparable to what we find in other activist “alternative” movements today. Some supporters of the movement partake in academic philosophy and have developed or at least suggested philosophies, “ecosophies,” inspired by the movement. R. A. Watson does not distinguish sufficiently between the movement and the philosophical expressions with academic pretensions. As a result, he falsely concludes that deep ecology implies setting man apart from (...) nature-a kind of “anthropocentrism” in his terminology: humans and only humans have no right to interfere with natural processes. What the deep ecology movement insists on is rather that life on Earth has intrinsic value and that human behavior should and must change drastically-and soon. (shrink)

In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of an accomplished listener, (...) the performer, the music analyst, and the composer. (shrink)

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy.

Human beings have the unique ability to view the world in a detached way: We can think about the world in terms that transcend our own experience or interest, and consider the world from a vantage point that is, in Nagel's words, "nowhere in particular". At the same time, each of us is a particular person in a particular place, each with his own "personal" view of the world, a view that we can recognize as just one aspect of the (...) whole. How do we reconcile these two standpoints--intellectually, morally, and practically? To what extent are they irreconcilable and to what extent can they be integrated? Thomas Nagel's ambitious and lively book tackles this fundamental issue, arguing that our divided nature is the root of a whole range of philosophical problems, touching, as it does, every aspect of human life. He deals with its manifestations in such fields of philosophy as: the mind-body problem, personal identity, knowledge and skepticism, thought and reality, free will, ethics, the relation between moral and other values, the meaning of life, and death. Excessive objectification has been a malady of recent analytic philosophy, claims Nagel, it has led to implausible forms of reductionism in the philosophy of mind and elsewhere. The solution is not to inhibit the objectifying impulse, but to insist that it learn to live alongside the internal perspectives that cannot be either discarded or objectified. Reconciliation between the two standpoints, in the end, is not always possible. (shrink)

In Knowing Emotions, Furtak argues that it is only through the emotions that we can perceive meaning in life, and only by feeling emotions that we are able to recognize the value or significance of anything whatsoever. Our affective responses and dispositions therefore play a critical role in human existence, and their felt quality is intimately related to the awareness they provide.

According to Dominic Lopes, expressiveness in pictures should be analyzed solely in terms of “expression looks” of various sorts, namely the look of a figure, a scene and/or a design. But, according to this view, it seems puzzling that expressive pictures should have any emotional effect on their audiences. Yet Lopes explicitly ties his “contour theory” of expression in pictures to empathic responses in spectators. Thus, despite his deflationary account of pictorial expression, he claims that pictures can give us practice (...) in various “empathic skills.” I argue that Lopes’s account of empathic responses to pictures, while interesting and enlightening, nevertheless ignores the most important way in which pictures exercise and enhance our empathic skills, namely, by giving us practice in taking the emotional perspective of another person. (shrink)

R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits such (...) a profile is to understand it. That understanding differs from any involved in conceptualizing the affect in question. And, I argue, engagement with the expressive character of works of art is one way to gain it. (shrink)