Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue (...) that if conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can be (...) used to make room for genre explanations in aesthetics. In turn, making room for genre explanations also demonstrates the plausibility of the pragmatist and pluralist view of aesthetic explanations. (shrink)

In this critical review I explore the anti-intentionalist stance Adorno offers in his aesthetics, specifically focusing on his Notes to Literature, and the internal limits to this stance. Adorno rejects the primacy of authorial intentionalism: The presuppositions of its aesthetic methodology, he claims, place the individual in a position of epistemic priority, without exploring the social totalities which constitute the conditions of the presentation of aesthetic knowledge by any such individual. The role of the creator for Adorno is inherently (...) mediated within the context of such totalities. -/- This is not to wholly discount the role of creative intentions, however. Rather, Adorno frames the artist as a ‘bearer’ and a ‘representative of the total social subject’. In this context he allows for a qualified form of subjectivity, construed as a mode of creativity produced by a particular kind of “achieved self-awareness” or disposition of consciousness towards an “estrangement of meaning”. Indeed, the loss of the stronger presupposition that the subject acts as an authentic expository force can lead to a realization that objectivity by this means constitutes a “loss”, Adorno claims, which creates the possibility for pursuing a critical stance to facilitate the capacity for creating autonomous works of art. Creators of autonomous works acknowledge “the paradoxical relationship of the autonomous work to its commodity character” (‘Valery’s Deviations’), namely an awareness of their inherent reification. The self-alienating yet autonomous work is described by Adorno as possessing and demonstrating tacit yet genuine ‘wants’, but this is framed by the demands of the human condition to recognize how ill-fitting the forces of social production are upon and towards securing them. Aesthetic intentions and the subjects which channel them can be critically valuable if they allude to or exposit the contradictions between these demands and those forces. (shrink)

If a reliable testifier tells you that a song is beautiful or that an act is wrong, do you thereby have a reason to approve of the painting and disapprove of the agent's action? Many insist that we don’t: normative testimony does not give us reasons for affective attitudes like approval. This answer is often treated as a datum in the literatures on moral and aesthetic testimony. I argue that once we correct for a common methodological mistake in these literatures, (...) the answer must be Yes. I then show why this matters for the broader discussion of the puzzle(s) posed by deference to moral and aesthetic testimony. (shrink)

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean by (...) aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

If complexity is a necessary but not sufficient premise for the existence and expression of the living, anticipation is the distinguishing characteristic of what is alive. Anticipation is at work even at levels of existence where we cannot refer to intelligence. The prospect of artificially generating aesthetic artifacts and ethical constructs of relevance to a world in which the natural and the artificial are coexistent cannot be subsumed as yet another product of scientific and technological advancement. Beyond the artificial, the (...) synthetic conjures the understanding of aesthetics and ethics no longer from the perspective of the How? type of question, but rather the Why? Given the current infatuation with synthetic biology (i.e., making life from non-life), there is a practical consequence to such considerations. Synthetic life, as any other form of life, implies the possibility of evolution. Anticipation, which is the underlying factor of evolution, is thus expected. At the level of human existence, anticipation is expressed, for instance (but not exclusively), in aesthetic forms and ethical values. This translates, in turn, into an argument for the role aesthetics and ethics play in the process. Consequently, to qualify as life, the synthesis of the physical and the living will have to efficiently handle ambiguity. Current computational facilities, regardless of their nature or performance, operate exclusively in the semiotic domain of the well defined non-ambiguous. (shrink)

Moritz Geiger (1880–1937) in Phänomenologische Ästhetik paper postulates aesthetics to become an autonomous science. The new science is intended to analyze aesthetic values and to discover the rules of their regulations. It tends to be separated from aesthetics as the sub-discipline of philosophy (especially under the influence of metaphysics) and aesthetics as a field of applying other sciences (mainly psychology). It may be achieved by the usage of a phenomenological method.

Central to W.E.B. Du Bois’s political theory is a conception of “world” remarkably similar to that put forward, years later, by Martin Heidegger. This point is more methodological than historical: I claim that approaching Du Bois’s work as a source, rather than as a product, of concepts that resonated with subsequent thinkers allows us to better appreciate the novelty and vision of his political theory. Exploring this resonance, I argue, helps to refine the notions of world and founding present in (...) each theorist’s work. Yet, it is only by remaining attentive to their differences that we can understand how Du Bois and Heidegger could endorse such dramatically opposed political programs despite similar theoretical starting points. (shrink)

Welchen Zweck verfolgen wir mit ästhetischen Urteilen, wie z.B. „Das ist schön“? Drücken wir damit nur unsere Begeisterung aus oder schreiben wir Gegenständen objektive, von uns unabhängige Eigenschaften zu? Können ästhetische Urteile wahr oder falsch sein, und falls ja, gilt der jeweilige Wahrheitswert dann allgemeingültig oder muss er in gewisser Hinsicht relativiert werden? Das Buch ist der Aufgabe gewidmet, Fragen dieser Art zu beantworten. Sprachphilosophische Fragen in Bezug auf ästhetische Urteile lassen sich allerdings nur dann präzise behandeln, wenn man sie (...) um metaphysische Analysen ästhetischer Eigenschaften ergänzt. Es wird daher eine kombinierte Theorie ästhetischer Urteile und Eigenschaften motiviert, im Detail ausgearbeitet und gegen Angriffe verteidigt. Die Theorie verbindet Elemente einer Doppelsprechakttheorie – nach der wir mit ästhetischen Aussagen simultan beschreibende und expressiv-bewertende Akte ausführen – mit einer reaktions-dispositionalen Charakterisierung ästhetischer Eigenschaften. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

In past decades, the subject atmosphere and mood has gone beyond the physio-meteorological and psychological scopes and become a new direction of aesthetics which concerns two sides of the same phenomenon. As the primary sensuous reality constructed by both the perceiving subject and the perceived object, atmosphere and mood are neither a purely subjective state nor an objective thing. Atmosphere is essentially a quasi-object pervaded by a specific affective quality and a ubiquitous phenomenon forming the foundation of our outer (...) life experiences, while mood is a quasi-subject pervaded by specific objective quality and thus a ubiquitous phenomenon forming the foundation of our inner life experiences. A practical dimension is thereby, from the outset, embedded in the consideration of both concepts. This is mainly characterized by actions and, correspondingly, ethical aspects, which concern the design and creation of atmosphere and thus the triggering of mood through works of art. Here, on the one hand, the process of artistic formation, long neglected in the European tradition, is given prominence as an aesthetic practice, and on the other hand, an interactive dialogue is effectively established between the artist, the work and the viewer. Due to the fact that atmosphere and mood, both as in-between, emphasize the interaction of the perceiver and the perceived from two sides, here the decisive question is: in what kind of environment do we live or participate and in what way do we experience it? The focus of aesthetics is now not on the conventional issue whether the environment is beautiful or gives us a sense of beauty, but on how the environment influences our feeling of being there (Befinden) through our own sensuality. Such an approach would contribute to a critical transformation in aesthetic methodology, namely from the ontological and/or epistemological what to the phenomenological and anthropological how. -/- The tension between atmosphere and mood, as revealed here, opens up a large space for exploring a new understanding of aesthetics. On this basis the special issue pursued to diversify this discussion on an international level. (shrink)

This paper explores the critical conditions of such semiotic realism that is commonly presumed in the so-called Copenhagen interpretation of biosemiotics. The central task is to make basic biosemiotic concepts as clear as possible by applying C.S. Peirce’s pragmaticist methodology to his own concepts, especially to those that have had a strong influence on the Copenhagian biosemiotics. It appears essential to study what kinds of observation the basic semiotic concepts are derived from. Peirce had two different derivations to the concept (...) of sign, both having a strong logical character. Therefore, it is discussed at length what Peirce’s conception of logic consists of and how logical concepts relate to the concepts of other sciences. It is shown that Peirce had two different perspectives toward sign, the ‘transcendental’ one and the objective one, and only the latter one is executable in biosemiotic applications. Although Peirce’ theory of signs seems to appear as twofold (if not even manifold), it is concluded that the ore conception has been stable. The apparent differences are presumably due to the different perspectives of consideration. Severe limitations for the application of Peirce’s semiotic concepts follow from this analysis that should be taken into account in biosemiotics relying on its Copenhagen interpretation. The first one concerns the ‘interpreter’ of a suggested biosemiotic sign — whether it is ‘we’ (as a ‘meta-agent’) or some genuine biosemiotic ‘object-agent’. Only if the latter one is determinable, some real biosemiotic sign-action may occur. The second one concerns the application of the concept of the object of sign — its use is limited so that a sign has an object if and only if it seeks a true conception about it. This conclusion has drastic further consequences. Most of the genuinely biosemiotic sign-processes do not tend toward truth about anything but toward various practical ends. Therefore, the logical concept of sign, e.g. the one of Peirce’s semeiotic, is an insufficient concept for biosemiotics. In order to establish a sufficient one, Peircean theoretical ethics and esthetics are introduced. It is concluded that they involve simpler and more general but still normative concept of sign — the concept of anticipative or constructive representation that does not represent any object at all. Instead, it is a completely future-oriented representation that guides action. Objective ethics provides the suitable concept of representation, but it appeals to objective esthetics that provides a theory of (local) natural self-normativity. The concepts of objective logic form the special species of objective ethics. The conclusion is that biosemiotics should be based on applied objective ethics and esthetics rather than on (Peircean semeiotic) logic and its metaphysical application. Finally, the physiosemiotic over-generalization of the concept of sign is shortly discussed. It is suggested that it would be more appropriate to rename such controversial generalizations than to adhere to semiotic terminology. Here, again, Peirce appears as a healthy role model with his ‘ethics of terminology’. (shrink)

Philosophical arguments usually are and nearly always should be abductive. Across many areas, philosophers are starting to recognize that often the best we can do in theorizing some phenomena is put forward our best overall account of it, warts and all. This is especially true in esoteric areas like logic, aesthetics, mathematics, and morality where the data to be explained is often based in our stubborn intuitions. -/- While this methodological shift is welcome, it's not without problems. Abductive arguments (...) involve significant theoretical resources which themselves can be part of what's being disputed. This means that we will sometimes find otherwise good arguments which suggest their own grounds are problematic. In particular, sometimes revising our beliefs on the basis of such an argument can undermine the very justification we used in that argument. -/- This feature, which I'll call self-effacingness, occurs most dramatically in arguments against our standing views on the esoteric subject matters mentioned above: logic, mathematics, aesthetics, and morality. This is because these subject matters all play a role in how we reason abductively. This isn't an idle fact; we can resist some challenges to our standing beliefs about these subject matters exactly because the challenges are self-effacing. The self-effacing character of certain arguments is thus both a benefit and limitation of the abductive turn and deserves serious attention. I aim to give it the attention it deserves. (shrink)

Roman Ingarden has exerted an immense influence on the development of aesthetics, and his texts in this field continue to inspire in-depth studies on art, despite the passage of several decades since the publication of his major works. At the same time, however, phenomenology – especially in France – brought about crucial changes during the second half of the twentieth century with regard to thinking about art, undermining its own methodological principles and tenets, as well as redefining fundamental phenomenological (...) concepts. In this article, I address the question of the continued relevance of Roman Ingarden’s approach to the musical work within the context of current phenomenological research, in particular that which concerns the subject of aesthetic concretisation. (shrink)

A work of music as an artefact is a particular acoustic material. However, the sounds are not identical with music since they only constitute the external appearance of a musical work and its most explicit layer, while aesthetic perception is certainly not limited to the superficial perception of sounds. Contemporary research in the field of fine arts by Gottfried Boehm and Georges Didi-Huberman showed new possibilities of revealing the hidden inner phenomenality of a work of art. Yet, is it possible (...) to apply the methodology of research on the invisible visuality of a painting to the field of non-acoustic sound of a musical work? What kind of additional research problems does a work of music cause, taking into account the fact that it is not only created by its author-composer, but it also requires a re-creational performance to phenomenally exist? The article provides the critical analysis of Roman Ingarden’s views on the subject of a musical work and indicates the need to expand the research horizon as regards the issue of nonsounding elements of music. The article aims mainly at bringing new research perspectives on a work of music in the light of contemporary phenomenology. (shrink)

In the article I analyse the phenomenological possibilities of sanctioning a religious revelation through the experience of art. First, I present the context for reflections on the religious dimension of art on the grounds of contemporary phenomenological research. Next, I analyse the main methodological problems within the research area under consideration. I also propose an interdisciplinary approach to the issue of art and revelation, which allows for a complementary presentation of this complex research problem at the intersection of aesthetics, (...) phenomenology, philosophy of religion and theology. (shrink)

Starting from the assumption that aesthetic is an anthropological fact which like language or symbolic thought belongs to the behavioral, cognitive and social register of our species, the article aims to clarify the uses of the category of aesthetic in the human sciences (social anthropology, cognitive psychology, evolutionary anthropology). The epistemological analysis focuses on the implicit assumptions that guide the different methodologies and leads to the elaboration of a conceptual map of the several models of aesthetic adopted in the contemporary (...) debate. Such a result is presented as a preliminary analytical step aimed at fostering an interdisciplinary approach to the complexity and socio-biological diversity of aesthetic phenomena. // Lo estético es un hecho antropológico que —como el lenguaje o el pensamiento simbólico— pertenece al registro comportamental, cognitivo y social de nuestra especie. A partir de esta consideración, el artículo pretende aclarar los usos de la categoría de lo “estético” en las ciencias humanas (antropología social, psicología cognitiva, antropología evolutiva). La investigación epistemológica se concentra en los supuestos implícitos que guían las diferentes metodologías y enfoques teóricos, y finalmente propone un mapa conceptual de los modelos estéticos adoptados en el debate contemporáneo. Este resultado se presenta como un paso analítico preliminar destinado a promover un enfoque interdisciplinario de la complejidad y diversidad sociobiológica de los fenómenos estéticos. (shrink)

The aim of this abstract is to present an overview of the thinking of the philosopher Hebert Marcuse in relation to Art, exposing his criticism of the orthodox conception of Marxist aesthetics, as well as to explain the author 's proposal on art as an essential component of the revolution in opposed to the affirmative culture of the "status quo" and the established ". For such an exposition to the methodology used, it started from a literary and philosophical consultation (...) in the work esthetic, as well as articles and magazines that endorsed the Marcuse thought on the relations between aesthetics, art, Literature and philosophy. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...) on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools (...) of Visual Semiotics, which I have already presented. A direct comparison of the three methods based on the same example should clarify the points of contact and the respective performance of the methods. For this purpose, theChrist among the Doctorsof Albrecht Dürer from 1506 will be used, which was already examined in 1905 and indirectly in 1915 by the prominent representative of Formal Aesthetics Heinrich Wölfflin,and in 1914 and finally in1943by the founder of Iconology Erwin Panofsky. With the new method thecommunicative-actionand decision relevant aspects and thus their share in life should be shown. (shrink)

"Time. Perception. Imagination. Phenomenological Studies on the Question of Time by Augustine, Kant and Husserl". (rus), SPb, 2013. Summary: The monograph is devoted to the key elements of the philosophy of time which determine the necessity of historicism in the analysis of subjectivity. The main idea which defined the composition and design of this work is to trace how the Kantian definition of time as the “form of inner sense” is revealed in Husserl’s phenomenology. The original intention was to understand (...) all three components of this definition. Firstly, what is the inner form, in terms of phenomenology, what are the principles of its constitution and how one can talk about the property of formation? Secondly, what is the meaning of the term "inner" in philosophy, where the division into internal and external has always been a formality, not affecting the essence of things? And finally, what sort of “sensibility” is assumed in transcendental science, bound to become the basis of understanding the history and culture. Presumably, these three Kantian concepts constituted the original plan to analyze the nature of cognitive capabilities of the subject, claiming the gnoseological stage on which the philosophy of time is unfolded. In other words, this work deals with the historical and philosophical analysis of the phenomenological principles by which the concept of time as developed in the twentieth century emerged in the framework of phenomenology. The analyze of the structure of the subject assumes that time, perception and imagination combine in a special type of inner synthesis, which may not be relevant to certain aspects of the method but maintain the basis for a kind of anthropology of time, in continuation of the traditional “inner” contemplation. I consider the inner structure of time with the account of philosophy of St. Augustine, who in many respects not only anticipated the conclusions of phenomenology, but also in his reflections encompassed deeper layers of inner experience. The first chapter is devoted to the doctrine of St. Augustine, in which the theory of time is analyzed in conjunction with the doctrine of “inner word”, specifics of memory representations and notion of inner sense. Additionally, I consider St. Augustine’s reflections about numbers that constitute the basis of aesthetic perception of music (De Musica). Thus, the philosophy of St. Augustine already covers the whole spectrum of anthropology of time, including the question of relation between time and eternity, which remains practically unexplored in phenomenology and serves as the proof of that in interactions between philosophy and theology the tradition remains important. The second chapter of this study is devoted to analysis of the transcendental aesthetic of Kant, which includes all the methodological possibilities of considering the category of time as a formal condition for any experience, consequentially serving as a foundation for further logical development by Husserl, which includes the critical disengagement of the founder of phenomenology from Kant's transcendentalism. Particular attention is paid to the origin of the concept of inner sense, as well as possible interpretations of the function of imagination, which as a transcendental ability remains the most interesting type of synthesis. Handwritten fragments of Kant’s works are also of interest to the character of the imagery as considered in detail by Husserl. Chapter three discusses the phenomenology of inner time consciousness, represented in those important aspects, without which it is impossible to speak about the internal structure of temporal experience - the subjectivity of time, retention, "living present", and the character of synthesis. Particular attention is paid to Husserl's polemics with those representatives of psychological branch in the studies of consciousness, whose ideas greatly influenced the very motivation for creating the method. Apart from the well-known criticism of Brentano, the third chapter highlights the rarely analyzed psychological ideas that motivated the choice of Husserl’s terminology - the "Präsenzzeit” by W. Stern, the "psychological analysis" by A. Meinong, and the “fusion” (Verschmelzung) by K. Stumpf. Chapter four deals with the need to analyze the specifics of image as an element of consciousness and imagery as such, which includes a system of objectified acts. Thus is revealed the very nature of synthetic connections in the acts of consciousness, as well as the presumably imaginative character of the constitution of temporal form. (shrink)

The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, it should answer whether the (...) results of the empirical research contribute to the debates of philosophical aesthetics of music. Each of the three chapters of the dissertation deals with one particular problem in philosophy of music: meaning in music, value of music, and the relationship between music and the emotions. For each particular philosophical problem discussed in these chapters, it is demonstrated that the experimental results provide interesting insights for philosophy of music. It is concluded in the dissertation that philosophers can benefit from examining experimental studies, not only regarding the particular aesthetic theories, but also in regard to the methodological consideration, since the dissertation shows that this kind of interdisciplinary approach uncovers methods useful to philosophers, not commonly available to the armchair philosophical approach. (shrink)

My initial work, with collaborators Stephen Morris, Thomas Nadelhoffer, and Jason Turner (2005, 2006), on surveying folk intuitions about free will and moral responsibility was designed primarily to test a common claim in the philosophical debates: that ordinary people see an obvious conflict between determinism and both free will and moral responsibility, and hence, the burden is on compatibilists to motivate their theory in a way that explains away or overcomes this intuitive support for incompatibilism. The evidence, if any, offered (...) by philosophers to support the claim that incompatibilism is intuitive has consisted of reports of their own intuitions or informal polls of their students. We were skeptical about the reliability of such evidence, so we used the methodology--”now associated with the label 'experimental philosophy'--”of conducting formal surveys on non-philosophers. Our participants read a scenario that describes a deterministic universe and were then asked to judge whether agents in those scenarios act of their own free will and are morally responsible for their actions. Using three different scenarios with hundreds of participants, we consistently found that the majority (2/3 to 4/5) responded that agents in deterministic universes do act of their own free will and are morally responsible. That is, we found that most ordinary folk do not seem to find incompatibilism intuitive or obviously correct. Our results have been challenged in various ways, philosophical and methodological. For instance, Shaun Nichols (2004, this volume) and Nichols and Joshua Knobe (unpublished) offer some experimental evidence suggesting that, in certain conditions, most people express incompatibilist and libertarian intuitions. I will respond to this work in the following section. I agree that people express conflicting intuitions about free will (after all, we consistently found a minority of participants expressing incompatibilist. (shrink)

Cooperation among arts scholars is thought to be hampered by the division of research on the arts into two cultures, one scientific, one humanistic. This paper proposes an alternative model for research into the arts wherein multiple levels of explanation focussed on well-bounded phenomena integrate research across academic disciplines. Two case studies of research that fits the model are presented.

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...) by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

Despite playing an important role in epistemology, philosophy of science, and more recently in moral philosophy and aesthetics, the nature of understanding is still much contested. One attractive framework attempts to reduce understanding to other familiar epistemic states. This paper explores and develops a methodology for testing such reductionist theories before offering a counterexample to a recently defended variant on which understanding reduces to what an agent knows.

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

Husserl’s extensive analyses of image consciousness (Bildbewusstsein) and of the imagination (Phantasie) offer insightful and detailed structural explications. However, despite this careful work, Husserl’s discussions fail to overcome the need to rely on a most problematic concept: mental images. The epistemological conundrums triggered by the conceptual framework of mental images are well known—we have only to remember the questions regarding knowledge acquisition that plagued British empiricism. Beyond these problems, however, a plethora of important questions arise from claiming that mental images (...) are structural moments of imaging and imagining. Any attempt to clarify the structure and conditions for the possibility of aesthetic experience must first provide an unambiguous account of pictorial depiction—a task unattainable through the mental images discourse. Similarly, exposing the import of the imagination for theoretical scientific inquiries (be they positive or eidetic) requires an initial explication of the structure of this consciousness; this explication, however, must address our ability to imagine non-spatially determined objects—something the conceptual framework of mental images utterly fails to accomplish. In this paper I argue against Husserl’s reliance on mental images in his phenomenological analyses of imaging and imagining and propose an alternative structural account for both. This account is free of this reliance and able to steer clear of its insidious implications for epistemology, aesthetics, and methodological reflections. By closely following the development of Husserl’s account I suggest alternative descriptions while building on Husserl’s important work. (shrink)

I demonstrate that analogies, both explicit and implicit, between Wittgenstein’s discussion of rituals, aesthetics, and psychoanalysis (and, indeed, his own philosophical methodology) suggest that he entertained the idea that Freud’s psychoanalytic project, when understood correctly—that is, as a descriptive project rather than an explanatory-hypothetical one—provides a “surveyable representation” (übersichtliche Darstellung) of certain psychological facts (as opposed to psychological concepts). The consequences of this account are that it offers an explanation of Wittgenstein’s admiration for and self-perceived affinity to Freud, as (...) well as of his apparent “know-nothing approach” to empirical psychology. (shrink)

As one of the seminal theorists further developing François Laruelle’s politically-poised “non-standard philosophy,” Katerina Kolozova’s approach to animality and feminism is part of a particular post-humanist Marxist continuum (which includes Rosi Braidotti, Luce Irigaray, Donna Haraway and N. Katherine Hayles). Nonetheless, Kolozova distinguishes herself from this lineage by adhering to Laruelle’s method, liquidating philosophy of its anthropomorphic nexus. Thus, Kolozova also belongs to a more recently inaugurated and nascent tradition, working in tandem with post-Laruellean philosophers of media, technology, aesthetics (...) and feminist critique, such as Bogna Konior, Yvette Granata, Jonathan Fardy and John Ó Maoilearca. Within this variegated assemblage, Kolozova’s most recent project, Capitalism’s Holocaust of Animals(2019), saliently reconciles and radicalizes Haraway’s epochal dyad of the “inhuman”—a bifurcation riven by technology on one node and the animal on the other—by a resolution of superlative unity. This methodology, adhering to Laruelle’s system of“synthesis-without-synthesizing” attempts to dissolve the spectral chimeras that have haunted philosophy’s metaphysical heredity, proffering a generic identity. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, (...) when philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.

Neither the art historians Panofsky and Warburg nor the philosopher Cassirer had any interest with their cultural-historical research in fact-based, historical questions. An approach that had become common in the 19th century due to the loss of validity of the speculative aesthetics. On the contrary, instead of this substantial understanding as the documentary concept represents, these researchers focused on a functional understanding of art historical sources. Nevertheless, in contrast to this starting point, Panofsky invented a methodological procedure, the so-called (...) iconological method, which in turn led back to a documentary-focused historical analysis of artistic artefacts that is still recognized today. The goal is to rediscover the original background of Panofsky´s method. This should make it clear that the original idea of the image concept pursued by Warburg and Cassirer, which had been lost or obscured by the aftermath of National Socialism in Germany, can be made fruitful in a new light today. This path may open up iconology to “image science”/Bildwissenschaft and thus transform the former from a purely historical approach to an understanding relevant to cultural processes and thus to human action. (shrink)

Both the irreducible complexity of biological phenomena and the aim of a universalized biology (life-as-it-could-be) have lead to a deep methodological shift in the study of life; represented by the appearance of ALife, with its claim that computational modelling is the main tool for studying the general principles of biological phenomenology. However this methodological shift implies important questions concerning the aesthetic, engineering and specially the epistemological status of computational models in scientific research: halfway between the well established categories of theory (...) and experiment. ALife models become powerful epistemic artefacts allowing the simulation of emergent phenomena, the interaction between different levels of organization and the integration of different causal factors in the very same manipulable object. The use of computational models in ALife can be classified in four main categories depending on their position between theoretical and empirical practices: generic, conceptual, functional and mechanistic. For each of these categories we analyse their epistemic value and select paradigmatic examples that illustrate how ALife models can be fruitfully inserted in the study of life. (shrink)

In the essay “Cézanne’s Doubt,” Merleau-Ponty explores the relationship between Paul Cézanne’s art and his embodiment. The doubt in question is ultimately about the meaning of his disabilities. Should Cézanne’s disabilities or impairments shape how we interpret his art or should they instead be treated as incidental, as mere biographical data? Although Merleau-Ponty's essay isn’t intended to be phenomenological, its line of questioning is as much about lived experience as it is about art criticism, art history, and aesthetics. I (...) here offer a reading of “Cézanne’s Doubt” as an exploration of one of the more fundamental issues for phenomenological methodology: the relationship between normality and the normate. I first defend this phenomenological and disability-centric or crip reading of the essay. I then argue that insofar as one takes oneself to be “normal” and insofar as doing so underwrites phenomenological inquiry, the problematic of the normate, not just that of normality, is central to phenomenology. (shrink)

The present text focuses on what resources Kierkegaard offers for dealing with the question “Why be moral?” I sketch an approach to this question by presenting Kierkegaard’s methodology, his negative arguments against the aesthete and the motive he offers for being moral. I conclude that Kierkegaard does provide motivation for assessing ourselves in moral terms, although his approach is more relevant to deontological ethics and virtue ethics than consequentialism.

Although the cognition is significant in strategic reasoning, its role has been weakly analyzed, because only the average intelligence is usually considered. For example, prisoner's dilemma in game theory, would have different outcomes for persons with different intelligence. I show how various levels of intelligence influence the quality of reasoning, decision, or the probability of psychosis. I explain my original methodology developed for my MA thesis in clinical psychology in 1998, and grant research in 1999, demonstrating the bias of the (...) classic IQ method, and how the intelligence limits thinking. Based on that I defined Personality Model, providing insight into understanding of psychosis (schizophrenia, bi-polar), which has not been explained yet by psychology or psychiatry. In addition, it enables to analyze and assess non-linear problems, utilizable in computer programming, visualization (animation) or other fields including Baduk game. I've already applied some principles in complex information system www.each.co.uk, and video-animations exhibited in London, Germany, Tokyo. I need to mention my experience in chess composition between 1994 and 2000, winning a few international prizes and inventing a special class of fairy rules redefining the mate. The chess composition principles or patterns show the way to organize logical series to higher advanced mechanisms (like calculus), applicable to other fields. One of such principles is a logical aesthetic innovation: new strategy, defined by Italian composers. Finally I show how the simple redefinition of the classic utility concept links economics and psychology to explain irrational / destructive behavior. All presented results (from the research) can be repeated. (shrink)

Purpose (metatask) of the present work is to attempt to give a glance at the problem of existential and anthropo- logical risk caused by the contemporary man-made civilization from the perspective of comparison and confronta- tion of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap pre- sent between the represented social reality and its representation in (...) perception of works of art and in the political doctrines as well. Methodology of the research is evolutionary anthropological comparativistics. Originality of the conducted analysis comes to the following: As the antithesis to biological and social reductionism in interpretation of the phenomenon of bio-power it is proposed a co-evolutionary semantic model in accordance with which the de- scribed semantic gap is of the substantial nature related to the complex module organization of a consistent and adaptive human strategy consisting of three associated but independently functional modules (genetic, cultural and techno-rational). Evolutionary trajectory of all anthropogenesis components including civilization cultural and so- cial-political evolution is identified by the proportion between two macro variables – evolutionary effectiveness and evolutionary stability (sameness), i.e. preservation in the context of consequential transformations of some invari- ants of Homo sapiens species specificity organization. It should be noted that inasmuch as in respect to human, some modules of the evolutionary (adaptive) strategy assume self-reflection attributes, it would be more correctly to state about evolutionary correctness, i.e. correspondence to some perfection. As a result, the future of human nature de- pends not only on the rationalist principles of ethics of Homo species (the archaism of Jurgen Habermas), but also on the holistic and emotionally aesthetic image of «Self». In conclusion it should be noted that there is a causal link between the development of High Hume (NBIC) technologies and the totality of the trend in the anthropological phenomenon of bio-power that permeates all the available human existence in modern civilization. As a result, there is a transformation of a contemporary social (man-made) risk in the evolutionary civilization risk. (shrink)

Purpose This paper discusses ethical principles that are implicit in second-order cybernetics, with the aim of arriving at a better understanding of how second-order cybernetics frames living in a world with others. It further investigates implications for second-order cybernetics approaches to architectural design, i.e. the activity of designing frameworks for living. -/- Design/methodology/approach The paper investigates the terminology in the second-order cybernetics literature with specific attention to terms that suggest that there are ethical principles at work. It further relates second-order (...) cybernetics to selected notions in phenomenology, pragmatism and transcendental idealism. The comparison allows for conclusions about the specificity of a second-order inquiry. In line with the thematic focus of this journal issue on the framing of shared worlds, the paper further elaborates on questions relating to the activity of designing “worlds” in which people live with others. -/- Findings The paper highlights that a radical openness toward the future and toward the agency of others is inscribed in the conception of second-order cybernetics. It creates a frame of reference for conceiving social systems of all kinds, including environments that are designed to be inhabited. -/- Originality/value The paper identifies an aesthetics grounded in the process of living-with-others as an ethical principle implicit in second-order cybernetics thought. It is an aesthetics that is radically open for the agency of others. Linking aesthetics and ethics, the paper’s contributions will be of specific value for practitioners and theoreticians of design. Considering second-order cybernetics as a practice generally dealing with designing, it also contributes to the wider second-order cybernetics discourse. (shrink)

Purpose of the present work is to attempt to give a glance at the problem of existential and anthropological risk caused by the contemporary man-made civilization from the perspective of comparison and confrontation of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap present between the represented social reality and its representation in perception of works of (...) art and in the political doctrines as well. Methodology of the research is evolutionary anthropologicalcomparativistics. Originality of the conducted analysis comes to the following: As the antithesis to biological and social reductionism in interpretation of the phenomenon of bio-power it is proposed a co-evolutionary semantic model in accordance with which the described semantic gap is of the substantial nature related to the complex module organization of a consistent and adaptive human strategy consisting of three associated but independently functional modules. Evolutionary trajectory of all anthropogenesis components including civilization cultural and social-political evolution is identified by the proportion between two macro variables – evolutionary effectiveness and evolutionary stability, i.e. preservation in the context of consequential transformations of some invariants of Homo sapiens species specificity organization. It should be noted that inasmuch as in respect to human, some modules of the evolutionary strategy assume self-reflection attributes, it would be more correctly to state about evolutionary correctness, i.e. correspondence to some perfection. As a result, the future of human nature depends not only on the rationalist principles of ethics of Homo species, but also on the holistic and emotionally aesthetic image of «Self». In conclusion it should be noted that there is a causal link between the development of High Hume technologies and the totality of the trend in the anthropological phenomenon of bio-power that permeates all the available human existence in modern civilization. As a result, there is a transformation of a contemporary social risk in the evolutionary civilization risk. (shrink)

Together with other influential psychologists of the time, Wundt considers internal data as absolute evidence, grounding psychology on this assumption. In opposition to his former mentor, Külpe aims at rehabilitating Kant’s transcendental aesthetics. Yet, he is far from embracing transcendentalism and rejects Kant’s skepticism as to the possibility of a scientific psychology. Nevertheless, Külpe believes that Kant is right in considering internal data as unreliable for scientific purposes: accordingly, psychology should share the same scientific methodology of any other science.

Jakob Friedrich Fries (1773-1843): A Philosophy of the Exact Sciences -/- Shortened version of the article of the same name in: Tabula Rasa. Jenenser magazine for critical thinking. 6th of November 1994 edition -/- 1. Biography -/- Jakob Friedrich Fries was born on the 23rd of August, 1773 in Barby on the Elbe. Because Fries' father had little time, on account of his journeying, he gave up both his sons, of whom Jakob Friedrich was the elder, to the Herrnhut Teaching (...) Institution in Niesky in 1778. Fries attended the theological seminar in Niesky in autumn 1792, which lasted for three years. There he (secretly) began to study Kant. The reading of Kant's works led Fries, for the first time, to a deep philosophical satisfaction. His enthusiasm for Kant is to be understood against the background that a considerable measure of Kant's philosophy is based on a firm foundation of what happens in an analogous and similar manner in mathematics. -/- During this period he also read Heinrich Jacobi's novels, as well as works of the awakening classic German literature; in particular Friedrich Schiller's works. In 1795, Fries arrived at Leipzig University to study law. During his time in Leipzig he became acquainted with Fichte's philosophy. In autumn of the same year he moved to Jena to hear Fichte at first hand, but was soon disappointed. -/- During his first sojourn in Jenaer (1796), Fries got to know the chemist A. N. Scherer who was very influenced by the work of the chemist A. L. Lavoisier. Fries discovered, at Scherer's suggestion, the law of stoichiometric composition. Because he felt that his work still need some time before completion, he withdrew as a private tutor to Zofingen (in Switzerland). There Fries worked on his main critical work, and studied Newton's "Philosophiae naturalis principia mathematica". He remained a lifelong admirer of Newton, whom he praised as a perfectionist of astronomy. Fries saw the final aim of his mathematical natural philosophy in the union of Newton's Principia with Kant's philosophy. -/- With the aim of qualifying as a lecturer, he returned to Jena in 1800. Now Fries was known from his independent writings, such as "Reinhold, Fichte and Schelling" (1st edition in 1803), and "Systems of Philosophy as an Evident Science" (1804). The relationship between G. W. F. Hegel and Fries did not develop favourably. Hegel speaks of "the leader of the superficial army", and at other places he expresses: "he is an extremely narrow-minded bragger". On the other hand, Fries also has an unfavourable take on Hegel. He writes of the "Redundancy of the Hegelistic dialectic" (1828). In his History of Philosophy (1837/40) he writes of Hegel, amongst other things: "Your way of philosophising seems just to give expression to nonsense in the shortest possible way". In this work, Fries appears to argue with Hegel in an objective manner, and expresses a positive attitude to his work. -/- In 1805, Fries was appointed professor for philosophy in Heidelberg. In his time spent in Heidelberg, he married Caroline Erdmann. He also sealed his friendships with W. M. L. de Wette and F. H. Jacobi. Jacobi was amongst the contemporaries who most impressed Fries during this period. In Heidelberg, Fries wrote, amongst other things, his three-volume main work New Critique of Reason (1807). -/- In 1816 Fries returned to Jena. When in 1817 the Wartburg festival took place, Fries was among the guests, and made a small speech. 1819 was the so-called "Great Year" for Fries: His wife Caroline died, and Karl Sand, a member of a student fraternity, and one of Fries' former students stabbed the author August von Kotzebue to death. Fries was punished with a philosophy teaching ban but still received a professorship for physics and mathematics. Only after a period of years, and under restrictions, he was again allowed to read philosophy. From now on, Fries was excluded from political influence. The rest of his life he devoted himself once again to philosophical and natural studies. During this period, he wrote "Mathematical Natural Philosophy" (1822) and the "History of Philosophy" (1837/40). -/- Fries suffered from a stroke on New Year's Day 1843, and a second stroke, on the 10th of August 1843 ended his life. -/- 2. Fries' Work Fries left an extensive body of work. A look at the subject areas he worked on makes us aware of the universality of his thinking. Amongst these subjects are: Psychic anthropology, psychology, pure philosophy, logic, metaphysics, ethics, politics, religious philosophy, aesthetics, natural philosophy, mathematics, physics and medical subjects, to which, e.g., the text "Regarding the optical centre in the eye together with general remarks about the theory of seeing" (1839) bear witness. With popular philosophical writings like the novel "Julius and Evagoras" (1822), or the arabesque "Longing, and a Trip to the Middle of Nowhere" (1820), he tried to make his philosophy accessible to a broader public. Anthropological considerations are shown in the methodical basis of his philosophy, and to this end, he provides the following didactic instruction for the study of his work: "If somebody wishes to study philosophy on the basis of this guide, I would recommend that after studying natural philosophy, a strict study of logic should follow in order to peruse metaphysics and its applied teachings more rapidly, followed by a strict study of criticism, followed once again by a return to an even closer study of metaphysics and its applied teachings." -/- 3. Continuation of Fries' work through the Friesian School -/- Fries' ideas found general acceptance amongst scientists and mathematicians. A large part of the followers of the "Fries School of Thought" had a scientific or mathematical background. Amongst them were biologist Matthias Jakob Schleiden, mathematics and science specialist philosopher Ernst Friedrich Apelt, the zoologist Oscar Schmidt, and the mathematician Oscar Xavier Schlömilch. Between the years 1847 and 1849, the treatises of the "Fries School of Thought", with which the publishers aimed to pursue philosophy according to the model of the natural sciences appeared. In the Kant-Fries philosophy, they saw the realisation of this ideal. The history of the "New Fries School of Thought" began in 1903. It was in this year that the philosopher Leonard Nelson gathered together a small discussion circle in Goettingen. Amongst the founding members of this circle were: A. Rüstow, C. Brinkmann and H. Goesch. In 1904 L. Nelson, A. Rüstow, H. Goesch and the student W. Mecklenburg travelled to Thuringia to find the missing Fries writings. In the same year, G. Hessenberg, K. Kaiser and Nelson published the first pamphlet from their first volume of the "Treatises of the Fries School of Thought, New Edition". -/- The school set out with the aim of searching for the missing Fries' texts, and re-publishing them with a view to re-opening discussion of Fries' brand of philosophy. The members of the circle met regularly for discussions. Additionally, larger conferences took place, mostly during the holidays. Featuring as speakers were: Otto Apelt, Otto Berg, Paul Bernays, G. Fraenkel, K. Grelling, G. Hessenberg, A. Kronfeld, O. Meyerhof, L. Nelson and R. Otto. On the 1st of March 1913, the Jakob-Friedrich-Fries society was founded. Whilst the Fries' school of thought dealt in continuum with the advancement of the Kant-Fries philosophy, the members of the Jakob-Friedrich-Fries society's main task was the dissemination of the Fries' school publications. In May/June, 1914, the organisations took part in their last common conference before the gulf created by the outbreak of the First World War. Several members died during the war. Others returned disabled. The next conference took place in 1919. A second conference followed in 1921. Nevertheless, such intensive work as had been undertaken between 1903 and 1914 was no longer possible. -/- Leonard Nelson died in October 1927. In the 1930's, the 6th and final volume of "Treatises of the Fries School of Thought, New Edition" was published. Franz Oppenheimer, Otto Meyerhof, Minna Specht and Grete Hermann were involved in their publication. -/- 4. About Mathematical Natural Philosophy -/- In 1822, Fries' "Mathematical Natural Philosophy" appeared. Fries rejects the speculative natural philosophy of his time - above all Schelling's natural philosophy. A natural study, founded on speculative philosophy, ceases with its collection, arrangement and order of well-known facts. Only a mathematical natural philosophy can deliver the necessary explanatory reasoning. The basic dictum of his mathematical natural philosophy is: "All natural theories must be definable using purely mathematically determinable reasons of explanation." Fries is of the opinion that science can attain completeness only by the subordination of the empirical facts to the metaphysical categories and mathematical laws. -/- The crux of Fries' natural philosophy is the thought that mathematics must be made fertile for use by the natural sciences. However, pure mathematics displays solely empty abstraction. To be able to apply them to the sensory world, an intermediatory connection is required. Mathematics must be connected to metaphysics. The pure mechanics, consisting of three parts are these: a) A study of geometrical movement, which considers solely the direction of the movement, b) A study of kinematics, which considers velocity in Addition, c) A study of dynamic movement, which also incorporates mass and power, as well as direction and velocity. -/- Of great interest is Fries' natural philosophy in view of its methodology, particularly with regard to the doctrine "leading maxims". Fries calls these "leading maxims" "heuristic", "because they are principal rules for scientific invention". -/- Fries' philosophy found great recognition with Carl Friedrich Gauss, amongst others. Fries asked for Gauss's opinion on his work "An Attempt at a Criticism based on the Principles of the Probability Calculus" (1842). Gauss also provided his opinions on "Mathematical Natural Philosophy" (1822) and on Fries' "History of Philosophy". Gauss acknowledged Fries' philosophy and wrote in a letter to Fries: "I have always had a great predilection for philosophical speculation, and now I am all the more happy to have a reliable teacher in you in the study of the destinies of science, from the most ancient up to the latest times, as I have not always found the desired satisfaction in my own reading of the writings of some of the philosophers. In particular, the writings of several famous (maybe better, so-called famous) philosophers who have appeared since Kant have reminded me of the sieve of a goat-milker, or to use a modern image instead of an old-fashioned one, of Münchhausen's plait, with which he pulled himself from out of the water. These amateurs would not dare make such a confession before their Masters; it would not happen were they were to consider the case upon its merits. I have often regretted not living in your locality, so as to be able to glean much pleasurable entertainment from philosophical verbal discourse." -/- The starting point of the new adoption of Fries was Nelson's article "The critical method and the relation of psychology to philosophy" (1904). Nelson dedicates special attention to Fries' re-interpretation of Kant's deduction concept. Fries awards Kant's criticism the rationale of anthropological idiom, in that he is guided by the idea that one can examine in a psychological way which knowledge we have "a priori", and how this is created, so that we can therefore recognise our own knowledge "a priori" in an empirical way. Fries understands deduction to mean an "awareness residing darkly in us is, and only open to basic metaphysical principles through conscious reflection.". -/- Nelson has pointed to an analogy between Fries' deduction and modern metamathematics. In the same manner, as with the anthropological deduction of the content of the critical investigation into the metaphysical object show, the content of mathematics become, in David Hilbert's view, the object of metamathematics. -/-. (shrink)

This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic value. The case studies presented here involve four objects from the collection of the Hunterian Museum (...) as sensed and interpreted by scholars of psychology, philosophy, sociology, and anthropology. It is proposed that aesthetic judgment in the expanded (cross-cultural) sense contemplated here involves apprehending the museum object through multiple sensory modalities in place of the conventional Western fixation on visible form. (shrink)

The present paper explores diffident and dissident practices reflected by the political talk at the end of the 19th-century in Romania. Relying on Jacques Rancière’s theories on the ‘aesthetic regime of politics,’ the introduction sketches a historical frame and proposes a focus change: the relation between ‘politics’ and ‘aesthetics’ does not stand on a set of literary cases, but on political scripts as such. Thus, the hypotheses investigated by the next three parts can be formulated as follows: 1. though (...) determined by an ideological direction (Conservative or Liberal), the political speech still preserves his tendency towards aesthetic autonomy. 2. oratorical merits (hinting at aesthetic autonomy) can turn into practices of political autonomy, diffidence and, then, dissidence. Methodologically, two types of aesthetic practices organize the chosen materials; both the diffident script and the theatre of dissidence help us to perceive how the philosophical and moral meaning of these practices could change into an ideology of dissidence. The formalization of diffident practices, their conversion to outspoken dissidence, also corresponds to the symmetrical symptom of unlimited authority; when old-time politicians warned on ‘Caesarism,’ ‘Vizierate,’ ‘Despotism,’ ‘Omnipotence’ or ‘Tyranny,’ the Romanian society had already been training for a long experience of ‘dictatorship.’. (shrink)

Bodily rhetoric is a burgeoning field, with scholars investing attention to the ways in which non-verbal communication mediates change between individuals and groups in complex scenarios, including political settings. Scenarios in which individuals move together – whether in completely extemporaneous situations or in existing forms such as Contact Improvisation, Argentinian Tango, or Classical Pas de Deux – pose a similarly complex communicative problem. Drawing on the work of Lloyd Bitzer, I demonstrate how rhetorical theory provides methodological insight by which we (...) can better understand the dynamic practice that is always already happening in situations where individuals move together. (shrink)

This article takes up Lipovetsky‟s discussion on artistic capitalism in L’esthétisation du monde. Vivre à l’âge du capitalisme artiste, to trace its definitions and methodological construction, but also in order to create a critical theory of artistic capitalism, based on the following working-hypothesis: the production of art and the production of self, understood in the sense of a Foucauldian project of the aesthetics of existence, represent correspondent purposes in artistic capitalism. My research will be focused on examining previous attempts (...) of developing such a critical inquiry, claimed by Luc Boltanski, Eve Chiapello, and Luc Ferry. It is my thesis that the failure of a homogeneous critical theory of artistic capitalism is owed to different inconsistent interpretations of contaminating ethics with aesthetics in order to create an ideal of morality and authenticity for the existence of the individual inspired by contemporary techniques of art production, aspects that were conceived by Lipovetsky as parts of the process of the “aestheticization of the world”. (shrink)

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

This article aims to grope how Paul Veyne's thought operates from his interlocutors. For this, seeking to clarify the “methodological” issues of his historiographic making and his aesthetic bases, a series of relations will be introduced between the mentioned author and Nietzsche, Deleuze, Foucault, and Borges. Starting from Nietzsche, in the first part, entitled “Veyne and the relational methodology”, it will be justified how it is possible to make a historiographical theory that merges philosophy and anthropology in its constitution. In (...) the second half, called “Mental categories of relational mediation in Veyne”, the possible aesthetic bases that operate within Veynian thought will be presented –for this purpose, mainly studies on the Baroque will be used. (shrink)