Judging works of art is one thing. Loving a work of art is something else. When you visit a museum like the Louvre you make hundreds of judgements in the space of just a couple of hours. But you may grow to love only one or a handful of works over the course of your entire life. Depending on the art form you are most aligned with, this can be a painting, a novel, a poem, a song, a work of (...) architecture, or some other art object or performance. As it happens, however, we have fallen in love with a series of films: Before Sunrise, Before Sunset, and Before Midnight. But what does it mean to love a film? What’s the difference between liking a film, loving a film, and being a film lover? How rational or irrational is it to fall in love with a film? What are the constitutive elements of such a love? These are the questions we seek to address in this paper. -/- . (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such (...) as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...) painter’s whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters’ own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. -/- The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters’ experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike. (shrink)

What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by norms internal (...) to a practice. Practice-internal norms, however, cannot settle the distinct question of which practices we have reason to opt into. When it comes to the source of aesthetic normativity—in virtue of what aesthetic value is genuinely reason-giving—I argue that existing accounts, which appeal to pleasure or achievement, are inadequate. The only practice-external aesthetic requirement is a generic one to opt into at least some aesthetic practices. (shrink)

The hope that art could be personally or socially transformational is an important part of art history and contemporary art practice. In the twentieth century, it shaped a movement away from traditional media in an effort to make social life a medium. Artists imagined and created participatory situations designed to facilitate potentially transformative expression in those who engaged with the works. This chapter develops the concept of “transformative expression,” and illustrates how it informs a diverse range of such works. Understanding (...) these artworks in this way raises two interesting questions, one about the nature of aesthetic value and the other about the nature of action. Answers to these questions lie in understanding the social and aesthetic character of our capacity to distance ourselves from our commitments and act in the expressive, playful, spontaneous, or imaginative ways that participatory art invites. (shrink)

What could ground normative restrictions concerning cultural appropriation which are not grounded by independent considerations such as property rights or harm? We propose that such restrictions can be grounded by considerations of intimacy. Consider the familiar phenomenon of interpersonal intimacy. Certain aspects of personal life and interpersonal relationships are afforded various protections in virtue of being intimate. We argue that an analogous phenomenon exists at the level of large groups. In many cases, members of a group engage in shared practices (...) that contribute to a sense of common identity, such as wearing certain hair or clothing styles or performing a certain style of music. Participation in such practices can generate relations of group intimacy, which can ground certain prerogatives in much the same way that interpersonal intimacy can. One such prerogative is making what we call an appropriation claim. An appropriation claim is a request from a group member that non-members refrain from appropriating a given element of the group’s culture. Ignoring appropriation claims can constitute a breach of intimacy. But, we argue, just as for the prerogatives of interpersonal intimacy, in many cases there is no prior fact of the matter about whether the appropriation of a given cultural practice constitutes a breach of intimacy. It depends on what the group decides together. (shrink)

Offers a conception of love and why it is meaningful.

In the concept of place the problems of ethics and aesthetics overlap in a particularly interesting and fruitful way. When an area or site becomes a place for us, we are not indifferent to it. A place is something to which we have a strong and significant relation; in my usage of the term “place”, place is defined by our personal connections to an area. Not every environment suits everyone. Although we can visually familiarise ourselves with many milieus, “placing” ourselves (...) somewhere is something else, and requires compatibility between individual and environment. Place is a place for me – its significance arises largely, although not exclusively, from meanings and values it gains through me. This has both ethical and aesthetic consequences: our judgments are based on the personal attachment we have to a place, and these judgments are strongly determined by our interests. (shrink)

Many writers describe a sense of requirement in aesthetic experience: some aesthetic objects seem to demand our attention. In this paper, I consider whether this experienced demand could ever constitute a genuine normative requirement, which I call an aesthetic obligation. I explicate the content, form, and satisfaction conditions of these aesthetic obligations, then argue that they would have to be grounded neither in the special weight of some aesthetic considerations, nor in a normative relation we bear to aesthetic objects as (...) such, but in the connections that certain aesthetic considerations have to our practical identities. On the practical identity approach, aesthetic obligation is best understood as a species of promissory obligation, namely self-promising. But this means that the experienced demand can have, at best, the status of a veridical hallucination: although both have the same content, it is the self-promise, and not the experienced demand, that gives rise to the obligation. While aesthetic obligations concern aesthetic objects, they are not obligations to the aesthetic per se. (shrink)

Yuriko Saito, the leading figure in the field, explores the nature and significance of the aesthetic dimensions of people's everyday lives. She argues that everyday aesthetics can be an effective instrument for directing humanity's collective and cumulative world-making project.

Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop two general strategies (...) for resisting the emphasis on it, in the hopes of getting a clearer view of beauty’s significance. I present and discuss several literary depictions of the encounter with beauty that motivate both strategies. These depictions illustrate the ways in which aesthetic experience can be personally transformative. I argue that they present difficulties for disinterest theories and suggest we abandon the concept of disinterest to focus instead on the special kind of interest beauty fuels. I propose a closer look at the Platonic thought that beauty is the object of love. (shrink)

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, (...) and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress. (shrink)

Most people, including philosophers, tend to classify human motives as falling into one of two categories: the egoistic or the altruistic, the self-interested or the moral. According to Susan Wolf, however, much of what motivates us does not comfortably fit into this scheme. Often we act neither for our own sake nor out of duty or an impersonal concern for the world. Rather, we act out of love for objects that we rightly perceive as worthy of love--and it is these (...) actions that give meaning to our lives. Wolf makes a compelling case that, along with happiness and morality, this kind of meaningfulness constitutes a distinctive dimension of a good life. Written in a lively and engaging style, and full of provocative examples, Meaning in Life and Why It Matters is a profound and original reflection on a subject of permanent human concern. (shrink)

Those who know anything about black history and culture probably know that aesthetics has long been a central concern for black thinkers and activists. The Harlem Renaissance, the Negritude movement, the Black Arts Movement, and the discipline of Black British cultural studies all attest to the intimate connection between black politics and questions of style, beauty, expression, and art. And the participants in these and other movements have made art and offered analyses that wrestle with clearly philosophical issues. In _A (...) Philosophy of Black Aesthetics_, I propose to identify and explore the most significant philosophical issues that emerge from the aesthetic dimensions of black life. The book will consist of eight short chapters, each of which will discuss a complex of related themes and phenomena. Every chapter will begin with one or two illustrative real-world examples, and then use the complexities of these opening cases to introduce the relevant issues. Many people in several fields have explored various bits of the terrain that I’ll cover. But none has surveyed the entire terrain in the name of aesthetics, and none has conducted this survey from an explicitly philosophical perspective. Setting up the project in this way means that its main conclusions will come in two forms. One kind of conclusion will emerge from the way I frame the issues. The two most important points here are that the field of aesthetics ought to cover more than the study of western fine art, and that the field of black aesthetics allows and requires the sort of comprehensive and philosophical analysis that I’ll offer. Another set of conclusions will emerge from my treatment of the specific issues in each chapter. In each case the aim will be to defend, albeit briefly, some position on the major issues raised in each chapter. (shrink)

This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time. Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time. Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter. Addresses a wide range of topics, including identifying art, ontology, intention (...) and interpretation, values of art, aesthetic properties, fictionality, and the aesthetics of nature. Explores particular art forms, including pictorial art, literature, music, and the popular arts. (shrink)

How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. First, it threatens to undermine our (...) "aesthetic love", or the meaningful attachments we form with aesthetic items, e.g., poems, paintings, songs, or items of design and dress. Second, it fails to accommodate the motivational character of our encounter with beauty, which can diminish our desire to pursue the wider world of aesthetic value. I conclude that whatever the aesthetic ideal is, it must reconcile our desire to broaden our access to aesthetic value with our desire to maintain and cultivate our meaningful aesthetic attachments. I motivate the alternative thought that having style is the aesthetic ideal. (shrink)

How should we make choices when we know so little about our futures? L. A. Paul argues that we must view life decisions as choices to make discoveries about the nature of experience. Her account of transformative experience holds that part of the value of living authentically is to experience our lives and preferences in whatever ways they evolve.

Introduction -- Part I: The meaning of life -- Richard Taylor, The meaning of life -- Thomas Nagel, The absurd -- Richard Hare, Nothing matters -- W.D. Joske, Philosophy and the meaning of life -- Robert Nozick, Philosophy and the meaning of life -- David Schmidtz, The meanings of life -- Part II: Creating people -- Derek Parfit, Whether causing someone to exist can benefit this person -- John Leslie, Why not let life ecome extinct? -- James Lenman, On becoming (...) extinct -- David Benatar, Why it is better never to come into existence -- Part III: Death -- Stephen E. Rosenbaum, How to be dead and not care : a defense of epicurus -- GeorgePpitcher, The misfortunes of the dead -- Steven Luper, Annihilation -- Fred Fldman, Some puzzles about the evil of death -- Frederick Kaufman, Pre-vital and post-mortem non-existence -- David B. Suits, Why death is not bad for the one who died -- Part IV: Suicide -- David Hume, Of suicide -- Immanuel Kant, Suicide and duty -- David Benatar, Suicide : a qualified defence -- Part V: Immortality -- James Lenman, Immortality : a letter -- Bernard Williams, The Makropulos case : reflections on the tedium of immortality -- John Martin Fischer, Why immortality is not so bad -- Christine Overall, from here to eternity : is it good to live forever? -- Part VI: Optimism and pessimism -- Margaret A. Boden, Optimism -- Michaelis Michael and Peter Caldwell, The consolations of optimism -- Bruce N. Waller, The sad truth : optimism, pessimism, and pragmatism -- Arthur Schopenhauer, On the suffering of the world. (shrink)

Death.--The absurd.--Moral luck.--Sexual perversion.--War and massacre.--Ruthlessness in public life.--The policy of preference.--Equality.--The fragmentation of value.--Ethics without biology.--Brain bisection and the unity of consciousness.--What is it like to be a bat?--Panpsychism.--Subjective and objective.

The phrase "the meaning of life" for many seems a quaint notion fit for satirical mauling by Monty Python or Douglas Adams. But in this spirited, stimulating, and quirky enquiry, famed critic Terry Eagleton takes a serious if often amusing look at the question and offers his own surprising answer. Eagleton first examines how centuries of thinkers and writers--from Marx and Schopenhauer to Shakespeare, Sartre, and Beckett--have responded to the ultimate question of meaning. He suggests, however, that it is only (...) in modern times that the question has become problematic. But instead of tackling it head-on, many of us cope with the feelings of meaninglessness in our lives by filling them with everything from football to sex, Kabbala, Scientology, "New Age softheadedness," or fundamentalism. On the other hand, Eagleton notes, many educated people believe that life is an evolutionary accident that has no intrinsic meaning. If our lives have meaning, it is something with which we manage to invest them, not something with which they come ready made. Eagleton probes this view of meaning as a kind of private enterprise, and concludes that it fails to holds up. He argues instead that the meaning of life is not a solution to a problem, but a matter of living in a certain way. It is not metaphysical but ethical. It is not something separate from life, but what makes it worth living--that is, a certain quality, depth, abundance and intensity of life. Here then is a brilliant discussion of the problem of meaning by a leading thinker, who writes with a light and often irreverent touch, but with a very serious end in mind. "If you were to ask what provides some meaning in life nowadays for a great many people, especially men, you could do worse than reply 'football.' Not many of them perhaps would be willing to admit as much; but sport stands in for all those noble causes--religious faith, national sovereignty, personal honor, ethnic identity--for which, over the centuries, people have been prepared to go to their deaths. It is sport, not religion, which is now the opium of the people.". (shrink)

The discussion of good and evil must not be confined to the sterile lecture halls of academics but related instead to ordinary human feelings, needs, and desires, says noted philosopher Richard Taylor. Efforts to understand morality by exploring human reason will always fail because we are creatures of desire as well. All morality arises from our intense and inescapable longing. The distinction between good and evil is always clouded by rationalists who convert the real problems of ethics into complex philosophical (...) puzzles. In the first part of Good and Evil, Taylor looks for a more meaningful conception by reexamining and rejecting the whole rationalistic tradition that dominates philosophical ethics. The second part provides an empirical explanation of good and evil, noting that one does not have to look too far to find prime examples of the failure of fixed moral rules. Including important commentary on Joseph Fletcher's groundbreaking situation ethics, and Aristotle's virtues (e.g., magnanimity and pride), Taylor rounds out the book by developing a philosophy of aspiration--personal worth as an ethical ideal--to replace the morality of duty. He offers a modified form of situation ethics to fit the contemporary problems we face. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

Philosophical wisdom and practical advice for overcoming the problems of middle age How can you reconcile yourself with the lives you will never lead, with possibilities foreclosed, and with nostalgia for lost youth? How can you accept the failings of the past, the sense of futility in the tasks that consume the present, and the prospect of death that blights the future? In this self-help book with a difference, Kieran Setiya confronts the inevitable challenges of adulthood and middle age, showing (...) how philosophy can help you thrive. You will learn why missing out might be a good thing, how options are overrated, and when you should be glad you made a mistake. You will be introduced to philosophical consolations for mortality. And you will learn what it would mean to live in the present, how it could solve your midlife crisis, and why meditation helps. Ranging from Aristotle, Schopenhauer, and John Stuart Mill to Virginia Woolf and Simone de Beauvoir, as well as drawing on Setiya’s own experience, Midlife combines imaginative ideas, surprising insights, and practical advice. Writing with wisdom and wit, Setiya makes a wry but passionate case for philosophy as a guide to life. (shrink)

It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of (...) duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork. (shrink)

This article introduces the preoccupations and themes that define the study and practice of black aesthetics. It presents a provisional sketch of a field that has long been recognized in other humanities disciplines, but that is only now gaining wide notice in academic philosophy. This sketch emphasizes the aspects of the field that invite specifically philosophic scrutiny, while touching lightly on specific artworks, critical literatures and historical developments. Among the topics that receive attention are the following: race, aesthetic politics, creolization, (...) nationalism, modernity, white supremacy and the blues. (shrink)

Robert Stecker investigates the universal human need for aesthetic experience of the world around us. He examines three contexts where aesthetic value plays a central role: art, nature, and the everyday. He explores how the aesthetic interacts with moral, cognitive, and functional values, and considers the place of the aesthetic in a good life.

A "sad and corrupt" age, a period of "crisis" and "upheaval"—what T.S. Eliot famously summed up as "the panorama of futility and anarchy which is contemporary history." Modernism has always been characterized by its self-conscious sense of suffering. Why, then, was it so obsessed with laughter? From Baudelaire, Nietzsche, Bergson and Freud to Pirandello, Beckett, Hughes, Barnes, and Joyce, no moment in cultural history has written about laughter this much. James Nikopoulos investigates modernity’s paradoxical relationship with mirth. Why was the (...) gesture we conventionally associate with happiness deemed the only sensible way of responding to a world, as Max Weber wrote, that had been "disenchanted of its gods?" In answering these questions, Nikopoulos also delves into our ongoing relationship with laughter. He looks to contemporary research in emotion and evolutionary theory, as well as to the two-thousand-plus-year history of the philosophy of humor, in order to propose a novel way of understanding laughter, humor, and their complicated relationships with modern life. The Stability of Laughter explores how art unsettles the simplifications we revert to in our attempts to make sense of human history and social interaction. (shrink)

Irony has a suspicious moral reputation, especially in popular media and internet culture. Jonathan Lear (2011) introduces a proposal which challenges this suspicion and identifies irony as a means to achieve human excellence. For Lear, irony is a disruptive uncanniness which arises from a gap between aspiration and actualisation in our practical identity. According to Lear, such a disruptive experience of ironic uncanniness reorients us toward excellence, because it passionately propels us to really live up to that practical identity. However, (...) Lear’s understanding of irony is idiosyncratic and his proposal overlooks that disruption often results from value incompatibility between different practical identities. The disruption which follows from value incompatibility does not inherently reorient us toward excellence. The point is exactly that achieving excellence in one practical identity is sometimes incompatible with excellence in the other. Pace Lear, I do not identify this disruptive experience as a central example of irony. Instead, I consider irony a virtuous coping strategy for such disruption, because it introduces the necessary distance from our moral imperfection to sustain practical deliberation and maintain good mental health. Such virtuous irony negotiates a golden mean between too little disruption (complete insensitivity toward one’s imperfection) and too much disruption (a complete breakdown of practical deliberation and mental health). I argue that ironic media in popular culture provide a rich source of such virtuous irony, which I demonstrate through analysis of satirical examples. (shrink)