In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides an (...) explanation for the ineffability and subjective universality of the perception of beauty in the form of objects. In part one, I set out two models of perception conducive to this approach. In part two, I suggest how such theories can offer a way of explaining and understanding the experience of beauty. (shrink)

This paper explores how transformative experience generates decision-making problems of particular seriousness in medical settings. Potentially transformative experiences are especially likely to be encountered in medicine, and the associated decisions are confronted jointly by patients and clinicians in the context of an imbalance of power and expertise. However in such scenarios the principle of informed consent, which plays a central role in guiding clinicians, is unequal to the task. We detail how the principle’s assumptions about autonomy, rationality and information handle (...) transformative experiences poorly, appealing to several difficult cases for medical decision-making to illustrate the resulting problem, and we consider how the existing literature on complications with consent fails to offer a resolution. We argue that recognition of the problem has a role to play in achieving a more effective response to transformative decisions. In Sect. 1 we introduce several representative cases of challenging patient decision-making that clinicians might face. In Sect. 2 we detail how transformative experience has been analysed in the recent literature, before outlining in Sect. 3 the theoretical basis of the principle of informed consent, which plays a central role in how clinicians are expected to support decision-making. In Sect. 4, having laid the groundwork for a clear description, we return to the cases given in Sect. 1 to confirm how their transformative nature presents a problem: either clinicians treat the decisions faced by these patients as ‘normal’, encouraging them to focus on information provision that patients may be unable to act on, or they treat them as transformative, in which case they lack the resources to recognise whether they are helping patients make (subjectively) good decisions. In Sect. 5 we argue that the existing literature does not offer any escape from this problem. We close in Sect. 6 by noting the significant impact that appreciating the problem of transformative experience could have on supporting transformative decisions in medicine and briefly suggesting how we might aim to develop new approaches to dealing with these. (shrink)

The paper aims to explain how Paul Ricœur’s phenomenological and hermeneutic approach offers an original theory of the self as self-attestation. Considering useful an approach that combines the psychological uses of the notion of self with a reflection on one’s capacity to design himself/herself as a person, the paper offers a thorough analysis of Ricœur’s work Soi-même comme un autre / Oneself as Another. The main purpose of this analysis is to highlight that, drawing a clear distinction between two forms (...) of identity (la mêmeté/sameness and l’ipséité/selfhood) and proposing a dialectic between the self and the other, Ricœur grounds his theory on a notion of self which includes one’s acceptance of the other. (shrink)

In this chapter we introduce concepts for analyzing proofs, and for analyzing undergraduate and beginning graduate mathematics students’ proving abilities. We discuss how coordination of these two analyses can be used to improve students’ ability to construct proofs. -/- For this purpose, we need a richer framework for keeping track of students’ progress than the everyday one used by mathematicians. We need to know more than that a particular student can, or cannot, prove theorems by induction or contradiction or can, (...) or cannot, prove certain theorems in beginning set theory or analysis. It is more useful to describe a student’s work in terms of a finer-grained framework that includes various smaller abilities that contribute to proving and that can be learned in differing ways and at differing periods of a student’s development. (shrink)

Arguments for what consent is often appeal to its functions. For instance, some argue that because consent functions to express the consent-giver’s autonomous control over her normative boundaries, consent must consist in a mental state. In this paper, I argue that consent has an often-overlooked function and that its having this function has consequences for our views of what consent is. I argue that consent has a relationship-shaping function: acts of consent can alter and enable personal relationships. This function grounds (...) an argument for the following claim: some acts of consent cannot be morally transformative unless there is uptake, or acceptance, or cooperation, on the recipient’s part. At least some acts of consent need to be “cosigned” by both parties. This rules out what I call “unilateral” conceptions of consent, according to which consent can always be given by the giver alone and nobody else needs to enter the picture. (shrink)

We report on an exploratory study of the way eight mid-level undergraduate mathematics majors read and reflected on four student-generated arguments purported to be proofs of a single theorem. The results suggest that mid-level undergraduates tend to focus on surface features of such arguments and that their ability to determine whether arguments are proofs is very limited -- perhaps more so than either they or their instructors recognize. We begin by discussing arguments (purported proofs) regarded as texts and validations of (...) those arguments, i.e., reflections of individuals checking whether such arguments really are proofs of theorems. We relate the way the mathematics research community views proofs and their validations to ideas from reading comprehension and literary theory. We then give a detailed analysis of the four student-generated arguments and finally analyze the eight students' validations of them. (shrink)

This study focuses on undergraduate students' ability to unpack informally written mathematical statements into the language of predicate calculus. Data were collected between 1989 and 1993 from 61students in six small sections of a “bridge" course designed to introduce proofs and mathematical reasoning. We discuss this data from a perspective that extends the notion of concept image to that of statement image and introduces the notion of proof framework to indicate the top-level logical structure of a proof. For simplified informal (...) calculus statements, just 8.5% of unpacking attempts were successful; for actual statements from calculus texts, this dropped to 5%. We infer that these students would be unable to reliably relate informally stated theorems with the top-level logical structure of their proofs and hence could not be expected to construct proofs or evaluate their validity. (shrink)

This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in a life were (...) prime considerations. The way beauty has been conceived has been influenced by an author’s other philosophical commitments, metaphysical, epistemological and ethical and such commitments reflect the historical and cultural position of the author. For example, beauty is a manifestation of the divine on earth to which we respond with love and adoration; beauty is a harmony of the soul which we achieve through cultivating feeling in a rational and tempered way; beauty is an idea raised in us by certain objective features of the world; beauty is a sentiment which can nonetheless be cultivated to be appropriate to its object; beauty is the object of a judgment by which we exercise the social, comparative and inter-subjective elements of cognition and so on. Such views on beauty not only reveal underlying philosophical commitments but also reflect positive contributions to understanding the nature of value and the relation of mind and world. One way to distinguish between beauty theories is according to the conception of the human being that they assume or imply, for example, where they fall on the continuum from determinism to free will, ungrounded notions of compatibilism notwithstanding. For example, theories at the latter end might carve out a sense of genuine innovation and creativity in human endeavours while at the other end of the spectrum authors may conceive of beauty as an environmental trigger for consumption, procreation or preservation in the interests of the individual. Treating beauty experiences as in some respect intentional, characterises beauty theory prior to the twentieth century and since, mainly in historically inspired writing on beauty. On the other hand, treating beauty as affect or sensation has always had its representatives and is most visible today in evolutionary inspired accounts of beauty (though not all evolutionary accounts fit this classification). Beauty theory falls under some combination of metaphysics, epistemology, meta-ethics, aesthetics and psychology. While in the twentieth century beauty was more likely to be conceived as an evaluative concept for art, recent philosophical interest in beauty can again be seen to exercise arguments pertaining to metaphysics, epistemology, meta-ethics, philosophy of meaning and language in addition to philosophy of art and environmental aesthetics. (shrink)

In this largely theoretical article, we discuss the relation between a kind of affect, behavioural schemas and aspects of the proving process. We begin with affect as described in the mathematics education literature, but soon narrow our focus to a particular kind of affect – nonemotional cognitive feelings. We then mention the position of feelings in consciousness because that bears on the kind of data about feelings that students can be expected to be able to report. Next we introduce the (...) idea of behavioural schemas as enduring mental structures that link situations to actions, in other words, habits of mind, that appear to drive many mental actions in the proving process. This leads to a discussion of the way feelings can both help cause mental actions and also arise from them. Then we briefly describe a design experiment – a course intended to help advanced undergraduate and beginning graduate mathematics students improve their proving abilities. Finally, drawing on data from the course, along with several interviews, we illustrate how these perspectives on affect and on behavioural schemas appear to explain, and are consistent with, our students’ actions. (shrink)

The standard cognitive theory of art claims that art can be insightful while maintaining that imagining is motivationally inert [Walton 1990] even when some epistemic advantage is claimed for it [Currie 1995]. However, if we assume art as art can be insightful, we also assume that the imagining it occasions has a lasting impact on belief. In this chapter, I argue that imagining of the kind occasioned by art can be held non-occurrently [Schellenberg 2013] without delusion and can motivate behaviour (...) [Gendler 2000, 2003, 2006a/b; Langland-Hassan 2016]. As such, certain features of imagination can be appreciated in a new light. (shrink)

The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary and sufficient conditions for (...) beauty at the semantic level). By the 13th Century in the West, the pleasure experienced in beauty is characterized as disinterested. Yet, on the basis that all cultural manifestations of the pythagorean theory of beauty recognize that judgments of beauty are genuine judgments, we would want to say that judgments of beauty are lawful. In addition, from ancient times, up until after Kant, philosophers of beauty within this tradition recognize two kinds of beauty: a universal, unchanging beauty coexisting with a relative, dynamic beauty. These two kinds of beauty and the tensions discussed above, are reconciled and dissolved respectively, according to the metaphysical/religious commitments of the particular author. As yet, however, these features of beauty have not been reconciled within a physicalist worldview. This is what I set out to do. (shrink)

This essay presents the nature of aesthetic judgment, the significance of aesthetic judgment and finally, the relevance of art to understanding aesthetic judgment.

Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant to an experience of (...) beauty, is the crux of the problem of beauty. In ancient, medieval and eighteenth century philosophy, the problem of beauty was framed by the larger concern of what constituted a good life. The question regarding the nature of beauty was answered with a view to its role in achieving the good life for those who cultivated its apprehension. In the twentieth century, philosophers framed the problem of beauty as a problem for conceptual analysis. The questions asked were: Is beauty subjective or objective? Are there properties in the object that count towards beauty in all cases; that are sufficient or necessary for an object to be judged beautiful? What kind of pleasure is the pleasure we experience of beauty? I will examine how these questions can be seen to have been answered by earlier philosophical traditions and then I will use these questions as a guide to developing an explanatory theory of beauty based on contemporary theories of perception. (shrink)

The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...) about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)

This article presents the results of research conducted with secondary school teachers in Quebec, specifically in the Mauricie region. The authors propose a reflection on the construction of professional identity in a context of institutional crisis. They argue that in this context, the teacher can not rely on stable and social frameworks to build up a strong professional identity and that work experience that becomes the primordial material from which that identity is developed. Therefore, the teacher has to build its (...) identity from a set of rational narrative experience of professional practice.contrastée des attentes et des représentations d'étudiants en formation initiale à l'enseignement secondaire en fonction de leur engagement ou non dans un établissement scolaire Cet article présente les résultats d’une recherche menée auprès d’enseignants du niveau secondaire au Québec, plus spécifiquement dans la région de la Mauricie. Les auteurs proposent une réflexion sur la construction de l’identité professionnelle dans un contexte de crise des institutions. Ils soutiennent que dans ce contexte l’enseignant ne peut compter sur des cadres sociaux stables et solides pour se constituer une identité professionnelle et que c’est l’expérience au travail qui devient le matériau primordial à partir duquel s’élabore cette identité. Par conséquent, l’enseignant a à construire son identité à partir d’une mise en récit rationnelle de son expérience de la pratique professionnelle. (shrink)

Literary beauty was once understood as intertwining sensations and ideas, and thus as providing subjective and objective reasons for literary appreciation. However, as theory and philosophy developed, the inevitable claims and counterclaims led to the view that subjective experience was not a reliable guide to literary merit. Literary theory then replaced aesthetics as did philosophy’s focus on literary truth. Along with the demise of the relevance of sensations, literary form also took a back seat. This suggested to some that either (...) literature communicated truth like any other literal form of communication or it was a mere diversion: a springboard to harmless reverie or daydreaming. Neither response satisfactorily captured what was distinctive about literature: the love readers can have for literary texts and the edification or insight claimed of works within each culture’s respective catalogue of classics. However, a concept of literary beauty has again become viable due to developments in theories of pleasure and imagination. If the defining aspect of literature is the imaginative engagement it occasions, and if this imagining is constrained by plausibility and endorsed as effective relative to our goals, ideals, and interests, then literature is not reduced to either mere fact or wish fulfillment. An account of literary beauty is available which defines literature accordingly and explains how subjective and objective reasons for appreciation intertwine to evoke pleasure and insight. (shrink)

This paper comments on an article by V.S. Ramachandran and William Hirstein (JCS,1999) in which they purport to be identifying the neurological principles of beauty. I draw attention to the way the problem of beauty is construed in the philosophical literature by Mary Mothersill (1984) and Immanuel Kant (Critique of Judgment). I argue that Ramachandran and Hirsteins' principles do not address the problem of beauty because they do not differentiate between the experience of beauty and other closely related phenomena. I (...) then show how one might address the problem of beauty within the framework that they have adopted. (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)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

According to the scientific image, aesthetic experience is constituted by private reverie or mindless gratification of some kind. This image fails to fully acknowledge the theoretical and hence cultural aspect of perception, which includes aesthetic experience. This chapter reframes aesthetic reflective judgment in terms of perceptual processes (section 2); intentional pleasure (section 3); non-perceptually represented perceptual properties (section 4); and intersubjectivity (section 5). By clarifying the relevant terms, the liberal naturalist account of the sublime provides the link between the sublime (...) and moral motivation (section 6). (shrink)

Aesthetics is not an area to which the Stoics are normally understood to have contributed. I adopt a broad description of the purview of Aesthetics according to which Aesthetics pertains to the study of those preferences and values that ground what is considered worthy of attention. According to this approach, we find that the Stoics exhibit an Aesthetic that reveals a direct line of development between Plato, the Stoics, Thomas Aquinas and the eighteenth century, specifically Kant’s aesthetics. I will reveal (...) an interpretation of the aesthetic of the Stoics which has more explanatory power for the history of aesthetic theory than a history of aesthetic theory which leaves out the Stoics. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...) (iii) the conditions for inter-subjectivity are met. (shrink)

The aim of this paper is to draw the attention of those conducting research on imagery to the different kinds of visual information deployed by expert drawers compared to non-expert drawers. To demonstrate this difference I draw upon the cognitive science literature on vision and imagery to distinguish between three different ways that visual phenomena can be represented in memory: structural descriptions, denotative descriptions, and configural descriptions. Research suggests that perception and imagery deploy the same mental processes and that the (...) drawing of one's imagery would require the simultaneous deployment of these very processes. I reason that drawing a picture of one's imagery is not possible. I hypothesize that when required to draw a picture from memory, both expert and non-expert drawers access their denotative description of the object rather than their imagery. I then suggest how my hypothesis could be tested and if accurate, how this finding would impact upon the design and interpretation of experiments on imagery when drawing is involved. I also suggest why the constraints that perception places upon the simultaneous deployment of imagery appear not to cause the same constraints in autistic savant drawers and visual agnosia patients. (shrink)

Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a means to the Good. The ascent theory of the Symposium has suggested to some commentators that Plato envisaged two kinds of beauty, the sensuous and the intellectual, and that to reach the Good we must transcend our sensuous desires and cultivate an appreciation of intellectual beauty. However, in the Laws Plato presents us with a third notion of beauty, which is neither (...) sensuous nor intellectual. To experience beauty we need to cultivate our pleasure in harmonious forms. This is where we find a theory of beauty that resonates in Kant’s aesthetic theory. According to the latter, the feeling for beauty is a feeling for harmony that takes us beyond the confines of a world marked out by self-interest. I conclude that Plato’s aesthetic theory anticipates the role that aesthetic judgment would play in Immanuel Kant’s system of the mind. (shrink)

A discussion of the way the visual artists represented in Adelaide’s 2012 Biennale draw attention to new conceptions of place, time and self which highlight the contingent nature of the narratives that underlie our day to day existence. Disenchantment or re-enchantment are increasingly redundant conceptions. Such narratives are always fluid. Among the ebbs and flows, new conceptions emerge, providing in effect new ways of being in the world, and in turn prompting a reshuffling of what we thought we knew.

If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...) what this means within the context of human culture is not so clear. A large visual cortex might not necessarily translate into a heightened susceptibility for fine visual distinctions over auditory or kinetic distinctions, at least not in all cultural contexts. (shrink)

Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine‐grained for discursive language. To accommodate such claims one can adopt either a convention‐based account or a natural‐kind account. A natural‐kind theory can explain the first but requires some special scaffolding in order to support the (...) second, while a convention‐based account accommodates the second but is incompatible with the first. Theodor W. Adorno attempts to incorporate both claims within his aesthetic theory, but arguably in his aesthetic theory each is cancelled out by the other. Art’s independence of entrenched conceptual frameworks needs to be made compatible with its communicative role. Jürgen Habermas, in contrast, provides a solution by way of his theory of language. I draw upon the art practice of the contemporary Icelandic‐Danish artist Olafur Eliasson in order to demonstrate this. (shrink)

<The definitive version is available at www.blackwell-synergy.com > -- In this paper I carve out a space between the concept of "the object" and the seemingly endless ways in which "the object" can be represented pictorially. I will call the aspect of the pictorial representation which is made possible by this space, the pictorial representation's "style". I will explore this space by drawing upon theories of pictorial representation, leaving out, for the sake of my purposes here, a consideration of the (...) artist's intention. That an attribution of "style" can be comprehensive while leaving out a consideration of artists' intentions, I will argue by adopting the conceptual framework of Paul Thom's theory of interpretation. Before embarking on my project, I begin with a brief overview of the rather slippery notion of "style". (shrink)

I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in relation to the conditions for (...) theoretical Reason, the conditions for moral motivation and the conditions for intersubjectivity, respectively. I conclude that there is no support for a thin concept of aesthetic formalism when the key elements of Kant’s Critique of Aesthetic Judgement are understood in the context of his broader critical aims. (shrink)

In this study we examine how different organizations communicate their commitments to sustainability and corporate social responsibility on their websites, and the different ways stakeholders could interpret this communication. We do this by examining several case studies and reflecting on those cases with the help of a theoretical framework. Our main findings are that there is a growing concern amongst stakeholders regarding environmental values and that unsubstantiated sustainability claims issued in corporate publicity can be interpreted as greenwashing. We identify a (...) conflict between goals of growth versus environmental sustainability in some of the cases. We also discover that organizations appear to be more transparent with their intentions by communicating their environmental values based on firm-serving motives rather than public-serving ones. (shrink)

L'évaluation des écosystèmes est l'un des pivots essentiels pour l'élaboration de moyens adap- tés permettant de lutter contre la diminution massive de la biodiversité. Pour la première fois, elle a fait l'objet d'une analyse à l'échelle mondiale dans le cadre de l'Evaluation des écosys- tèmes en début de millénaire (EM). Le rassemblement de plus d’un millier de chercheurs et de plusieurs organismes internationaux durant quatre années ont permis de dessiner la carte nécessaire à toute action efficace. L'article expose les éléments (...) principaux de l'EM : l'évaluation des écosystèmes en tant que tels, mais surtout des services écosystémiques, dans toutes leurs dimensions, en ce que leur évolution affecte le bien-être humain. Il analyse ensuite les quatre points principaux de l'apport de l'EM, des avantages de l'utilisation croissante des services éco- logiques à sa non viabilité. Des scénarios, modèles et outils sont proposés pour inverser la courbe négative d'appauvrissement de la biodiversité et des services écosystémiques dans un premier bilan des retombées de l'EM. (shrink)

Ormerod and Chronicle reported that optimal solutions to traveling salesperson problems were judged to be aesthetically more pleasing than poorer solutions and that solutions with more convex hull nodes were rated as better figures. To test these conclusions, solution regularity and the number of potential intersections were held constant, whereas solution optimality, the number of internal nodes, and the number of nearest neighbors in each solution were varied factorially. The results did not support the view that the convex hull is (...) an important determinant of figural attractiveness. Also, in contrast to the findings of Ormerod and Chronicle, there were consistent individual differences. Participants appeared to be divided as to whether the most attractive figure enclosed a given area within a perimeter of minimum or maximum length. It is concluded that future research in this area cannot afford to focus exclusively on group performance measures. (shrink)

This book is a compilation of papers that Zangwill has had published previously in a number of journals; this journal among them. The topics of these papers centre on the nature of aesthetic properties. Read as such, the papers are, for the most part, erudite and illuminating, presenting as they do a very clear synthesis of various well known positions on the relation of aesthetic properties to non-aesthetic properties; the relation of beauty to other aesthetic concepts; and the nature of (...) the aesthetic. (shrink)

Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter by (...) those who ground art in some conception of verisimilitude. Those worried by the former argument, emphasize editing and montage effects as the essential aspects of cinema, the idea being that the less representational veracity a film presented, the more it could be classified as art. On the other hand, for those who equate the art of film with verisimilitude, it is argued that the realism of film is superior to the realism of the other representational arts due to film’s retrieval of images as opposed to merely representing them. (shrink)

The late vision theorist David Marr identified three levels of explanation that he argued needed to be addressed in order to understand vision : (i) the psychological, functional or computational level of processes; (ii) the physical or neurological which is the level of explanation employed by Zeki; and (iii) the algorithmic – the level of implementation. For Zeki’s purpose of drawing upon vision-theory in order to better understand art and aesthetics, there is no need to focus on the third level. (...) I would argue however that in order to draw upon brain science to understand art, the first two levels of explanation are necessary. (shrink)

Matthews discusses the role of our ability to make a judgment of taste (judgment of beauty) within Kant's notion of the structure of the mind. In doing this she does not simply rely upon what we can learn from the first part of the third critique, the 'Critique of Aesthetic Judgment', but draws upon Kant's philosophy as a whole, including the first two critiques and the second part of The Critique of Judgment, the 'Critique of Teleological Judgment'. She looks at (...) how the ability to judge beauty links to other aspects of the mind: in particular to our ability to make moral judgments and to our ability to cognize experience, the latter involving a selection of those aspects of nature which lend themselves to the kind of ordering of which our minds are predisposed. Matthews identifies a link in Kant's thinking between creativity and aesthetic judgment. That is, she understands Kant to be saying that aesthetic judgment makes revolutionary ways of thinking possible (p.71). However, in her introduction she writes 'Beauty need not lead to knowledge or moral activity in order to have value in our lives' (p.1). Matthews points out that her aim in this book is to show that the feeling of beauty serves a larger purpose for Kant. The relevant feature of the experience of beauty is its 'ability to orient rational beings in a sensible world'. Her book is dedicated to explaining how the experience of beauty does this. The feeling of beauty, she writes, 'acts as a mediating link between theoretical and practical reason' (p.1). (shrink)

Kirwan identifies three kinds of beauty theory within the Western tradition. These are: ‘in the eye of the beholder’ theories; neoplatonic theories; and what he refers to as synaesthetic theories; which he discusses in chapters 2, 3 and 4 respectively. He places himself within the synaesthetic tradition whose emphasis is apparently on the interaction between the beautiful object and the perceiver. Kirwan, however, does not analyse this interaction. Nor does he concern himself with what makes the experience of beauty possible, (...) nor what characteristics of an object make it beautiful. Instead, Kirwan’s theory of beauty amounts to a phenomenology of beauty. Kirwan is interested in “the structure of feeling involved in beauty – with respect to which the division between the perceived object and its ground is more important than any formal properties of either “ (p.39). (shrink)

In order to say what one means, and be understood, one needs to know to whom one wishes to communicate, the particular mindset one addresses. Expressing oneself clearly and naturally requires some art. Style, then, is an important component of the message received, or so it is in art history writing according to James Elkins. He attempts to demonstrate that what constitutes art history writing is consequently unanalysable; that art history under analysis becomes something else. ‘The glare of logic’ Elkins (...) claims, ‘bleaches the carefully modulated colors of art history and makes whole stretches of it appear blank’ (225). Art history is shrunk when it becomes the patient of the philosopher, the sociologist, the cultural theorist. (shrink)

The authors included in this anthology of historical texts on aesthetics and philosophy of art, address the big questions. They attempt to place art within experience generally or within the life of a community; or they attempt to understand the nature of the aesthetic and its role within experience. Topics include mimesis, the relation between art and truth, the metaphysics of beauty, the function of art, and the ontology of art. All of the extracts included were written prior to the (...) middle of this century. The only aspect of this anthology which suggests that it was published recently is the inclusion of three Chinese pieces and one Indian piece. (shrink)

The aim of this book is to promote understanding and enjoyment of the arts. With this aim in mind, Lyas introduces the key issues of philosophical aesthetics through examples drawn from high and popular culture, and from a variety of art forms, from music and painting to literature and poetry. The book is pitched as a springboard into undergraduate courses in aesthetics and as an introduction to philosophical aesthetics for the general reader. It is refreshing to read a book on (...) aesthetics written by someone for whom problems in aesthetics are more than just grist for the academic mill. That this is the case shows not only in his choice of examples but also in the perspective he brings to them. Lyas argues, for example, that one must feel the merit of the work for oneself; rather then simply, as he puts it, assuming 'that certain things are worth studying ("in the canon" as they put it)' and then performing 'various classificatory dances round them' (p.75). The question for appreciation, he reminds us, is why those things in the canon deserve to be there. According to Lyas, teaching aesthetics is not simply a matter of imparting a body of knowledge to the student. Instead, the teacher's role is to develop capacities in the student for an appreciative experiencing (p.131). (shrink)

Matthew Kieran addresses a number of key topics in aesthetics including the nature of originality, beauty, artistic knowledge and truth, the moral content of art, and the standards of taste. His treatment of each topic is informed by the thesis that the value of art is to be found in the insights that it provides. The structure of each chapter is to canvas a few positions (usually including one that would represent a counter position to his thesis), before presenting an (...) interpretation of the topic that is compatible with his positive thesis regarding art’s value as insight. (shrink)

Paul Crowther provides interpretations of key concepts in Kant’s Critique of Aesthetic Judgment, indicating (particularly in very informative footnotes) how his views compare with those of other Kant commentators such as Paul Guyer, Rachel Zuckert, Béatrice Longuenesse, Henry Allison, Donald Crawford, Robert Wicks and others. One might be inclined to ask whether yet another interpretation of Kant’s third critique was needed, yet compared to his other two critiques, Kant’s Critique of Judgment can still be regarded as the neglected sibling. Its (...) relevance to his system as a whole and in particular to his moral theory is still under appreciated. However, if one is after a study of Kant’s third critique along these lines, this is not the place to find it. Crowther has his philosopher of art hat firmly in place in the writing of this study. Even so, adopting this approach Crowther shows us that there is still work to be done. Crowther takes the core of Kant’s thesis and argues that its implications extend far beyond what Kant could have envisaged. (shrink)

The essays collected in this volume are written by scholars from a wide range of disciplines (anthropology, archaeology, art history, philosophy and psychology). The papers ostensibly address how to evaluate rock art, but can also be read in the context of offering support for the affirmative in the debate regarding whether aesthetics is a cross-cultural discipline. Two alternative conceptions of the aesthetic provide the underlying antithesis and thesis respectively to all papers. The antithesis holds that the aesthetic pertains to a (...) conception of art that is an historical artefact of eighteenth century Europe. Most of the writers refer to this idea of art in terms of the object of a disinterested gaze (a second-hand reading of Kant), or as ‘art-for-art’s-sake’. The thesis of all papers, be it explicit or implicit, is that the aesthetic is a certain human predisposition or capacity to imbue physical properties with meaning and value; to link the sensuous with the semantic; to find meaning in form (Lamarque pp.27-8, Morphy pp.54, 59.). Some authors extend this beyond the artefact to the perception of nature (see the papers of Heyd, Ogawa, Stone). (shrink)

The distinctive feature of Thom’s theory of interpretation is that it takes the classicist view regarding the stability of the object of interpretation, and the post-structuralist view regarding what counts as interpretation. Accordingly, he must admit the possibility that any one object of interpretation, stable though it be, can have multiple (yet possibly incommensurable) successful interpretations.

In this clearly written and well argued book, Mark Johnson presents a theory of embodied cognition and discusses the implications it has for theories of meaning, language and aesthetics. His pragmatist foundations are on show when he writes that ‘The so-called norms of logical inference are just the patterns of thinking that we have discovered as having served us well in our prior inquiries, relative to certain values, purposes, and types of situations’ (p.109). Johnson’s particular contribution to theories of meaning (...) and language is that he grounds ‘inference’ even at the most abstract level in patterns of sensorimotor experience (p.279). He rejects traditional analytic theories of language on the basis that their central concept of reference is grounded in an erroneous and unfounded distinction between transcendent universals and bodily particulars (p.89-91). (shrink)

In this study we examine how different organizations communicate their commitments to sustainability and corporate social responsibility on their websites, and the different ways stakeholders could interpret this communication. We do this by examining several case studies and reflecting on those cases with the help of a theoretical framework. Our main findings are that there is a growing concern amongst stakeholders regarding environmental values and that unsubstantiated sustainability claims issued in corporate publicity can be interpreted as greenwashing. We identify a (...) conflict between goals of growth versus environmental sustainability in some of the cases. We also discover that organizations appear to be more transparent with their intentions by communicating their environmental values based on firm-serving motives rather than public-serving ones. (shrink)

Abstract: We examine how trustworthy behaviour can be achieved in the financial sector. The task is to ensure that firms are motivated to pursue long-term interests of customers rather than pursuing short-term profits. Firms’ self-interested pursuit of reputation, combined with regulation, is often not sufficient to ensure that this happens. We argue that trustworthy behaviour requires that at least some actors show a concern for the wellbeing of clients, or a respect for imposed standards, and that the behaviour of these (...) actors is copied in such a way that it becomes a behavioural norm. We briefly suggest what such behavioural norms might need to be if trustworthy behaviour is to be achieved, and consider how they might be supported; we describe the research that is necessary in order to understand these norms in more detail. We argue that the norms of traders are different from the norms of those engaged in other activities, since they are inevitably self-interested, and we consider the risk that traders’ norms might undermine those of other actors. We analyse the task for governance in dealing with this problem, and the role which leadership by a corporate board and management might play in doing this. We describe the need for further research in to describe how this might be done. (shrink)

The success of the mission of the school based largely on teachers, it is important to understand exactly how they see their role in the actualization of this mission. So this article initiates a reflection on how secondary school teachers in Quebec think their educational mission. More specifically, we analyze how the educational mission takes shape in their professional practice. La réussite de la mission de l’école reposant en grande partie sur les enseignants, il importe de cerner avec précision comment (...) ces derniers conçoivent leur rôle dans l’actualisation de cette mission. Ainsi cet article amorce une réflexion sur la manière dont les enseignants du secondaire au Québec, pensent leur mission éducative. Plus particulièrement, nous analysons ici comment cette mission éducative prend forme dans leur pratique professionnelle. (shrink)

In this paper we will examine the influence digital media has had on political dialogue in the public sphere. We will explore the phenomenon through an example case, namely the global feminist #MeToo movement which started in 2017. Within the framework of the #MeToo Movement, we introduce and examine the challenges digital media poses to the political dialogue in the public sphere. We start by going through concepts and theories utilized in this research paper. Then we will discuss the relationship (...) between digital media and #MeToo, after which we will assess the negative and positive outcomes of the #MeToo movement. Finally, an overall assessment concerning the movement and phenomenon around it is given. Our main argument is that while making the public sphere more inclusive, digital media has also made public debate and political discussion more polarized and antagonistic. (shrink)