This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...) formalism”, focusing on the thinking of leading aestheticists, Walter Pater, Oscar Wilde, and James Whistler. These three thinkers defined artwork as a form saturated with an inextricable content, viz. opaque form. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual become a site of philosophical (...) analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented with (...) mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a composition (...) that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...) metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...) composition. The chapter demonstrates that this is a misrepresentation of the complex formalist prescriptive idea of the relations between art and ethics. Through its autonomy and imperviousness to external co-opting—which is accomplished by due focus on aesthetic form—art on the formalist account is held to be a paradigm of the liberalist principles of individual freedom and self-fulfillment, thus an inherent means to the good. (shrink)

Design is an omnipresent, aesthetic-functional phenomenon, one that is culturally loaded and broadly influential. Since ancient times, design has played a crucial role in shaping both our intimate daily experiences and broader societal structures. It influences behavior, preferences, cultural norms and movements, political or personal identities, and economic systems. Today, design is not only a thriving field of practice but also an evolving area of academic inquiry, one that is becoming a self-standing discipline. It is, of course, important to define (...) ‘design’ . But, in developing our understanding of it, we also need to analyze its relationships to associated fields, such as ontology, cognition and perception, ethics, politics, social conduct, fine or popular art, everyday aesthetics, and science and technology. The special issue Design and its Relations takes up this mission. We aim to reveal and study the interactions between design as an aesthetic-functional field and various auxiliary concepts, ideas, phenomena, and disciplines. The essays in the special issue thus address a range of design affiliations. These include both (a) relatively abstract affiliations—such as aesthetics, perception and appreciation, beauty, ethics, science, rationalism, and the idea of abstractness itself—and (b) more direct topics, including design’s relations to photographic systems and even cultural views of parenthood given through the evolution of crib shapes (which is a typical substantiation of design’s impact on humanity’s foundations). (shrink)

Risk propagation encompasses a plethora of techniques for analyzing how risk “spreads” in a given system. Albeit commonly used in technical literature, the very notion of risk propagation turns out to be a conceptually imprecise and overloaded one. This might also explain the multitude of modeling solutions that have been proposed in the lit- erature. Having a clear understanding of what exactly risk is, how it be quantified, and in what sense it can be propagated is fundamental for devising high-quality (...) risk assessment and decision-making solutions. In this paper, we exploit a previous well-established work about the nature of risk and related notions with the goal of providing a proper interpre- tation of the different notions of risk propagation, as well as revealing and harmonizing the alternative semantics for the links used in common risk propagation graphs. Finally, we discuss how these results can be leveraged in practice to model risk propagation scenarios. (shrink)

Human Flourishing, Liberal Theory, and the ArtsMAUTNERMENACHEM routledge. 2018. pp. 198. £125.

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

Getting physical: Empiricism’s medical History Content Type Journal Article DOI 10.1007/s11016-010-9474-4 Authors John Gascoigne, School of History and Philosophy, University of New South Wales, Sydney, NSW 2056, Australia Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

L’objection la plus ancienne et la plus redoutable à la démocratie fait valoir que le gouvernement par le peuple dessert le gouvernement pour le peuple. Les citoyens manquant pour la plupart de sagesse ou de compétence, le bien commun serait mieux assuré en confiant le pouvoir à un individu éclairé ou à une élite experte. Une réponse commune à cette objection concède la prémisse mais affirme la priorité au gouvernement par le peuple sur le gouvernement pour le peuple : le (...) droit égal à la participation devrait l’emporter sur la promotion de la compétence, même si celle-ci est requise par le bon gouvernement. La démocratie se trouve alors réduite à un ensemble de procédures équitables, traitant les citoyens en égaux ; elle ne se définit plus par la poursuite du bien commun. Il est toutefois une autre réponse à l’objection, qui évite cette dérive vers un procéduralisme étroit. Elle consiste à nier la prémisse et à affirmer la sagesse politique du peuple. Il n’est pas vrai que le gouvernement pour le peuple serait mieux assuré en confiant le pouvoir à un petit nombre de sages ou d’experts, fussent-ils les meilleurs parmi les citoyens. Cette thèse remarquable peut paraître improbable. Sa défense peut pourtant s’appuyer sur l’un des arguments les plus intrigants élaborés par la philosophie politique aristotélicienne, qui inspire et éclaire les controverses philosophiques contemporaines sur la valeur du régime démocratique : l’argument de la sagesse de la multitude. (shrink)

Peter Godfrey-Smith writes in the section 3.3 “The Ravens Problem” of his book “Theory and Reality” [chapter “Induction and Confirmation”]: “First, the logical empiricists were concerned to deal with the case where generalizations cover an infinite number of instances. In that case, as we see each raven we are not reducing the number of ways in which the hypothesis might fail”. Infinite sets and finite sets have different properties and follow different rules. For example: let’s call “bag X” a specific (...) bag that contains 90 marbles; the generalization A “All marbles in bag X are red” covers a finite number of instances. By contrast, the generalization AE “All things that are not red are not marbles in bag X” covers an infinite number of instances. The propositions A and AE are logically equivalent, but there is an asymmetry due to the fact that A can only have a finite number of instances (since the set of the marbles contained in bag X is a finite set). Because of the aforementioned asymmetry, even though A and AE are logically equivalent propositions, it is wrong to equate an instance of A with an instance of AE. Another example involving a finite set: let’s call “barrique X” a certain 205-liter (54.1553 US gal) barrique. In the following generalization, the expression "all minerals" should not be understood as "all types of minerals", but should be understood literally as "all minerals". B “All minerals are in barrique X”. BE “All objects that are not in barrique X are not minerals”. Of course, a 205-litre barrique cannot contain an infinite number of minerals; the set of objects contained in barrique X is a finite set: therefore in the generalization B we refer to a set that is assumed to be an infinite set (the set of minerals) and to a set (the finite set of minerals contained in barrique X) that is not assumed to be an infinite set. By contrast, in the generalization BE we refer to two sets that are assumed to be infinite sets (the set of all objects that are not contained in barrique X and the set of all objects that are not minerals). Therefore, although B and BE are logically equivalent propositions, an instance of BE cannot be equivalent to an instance of B. Now, let’s analyze the following generalizations. C “All the elements of the set of ravens are elements of the set of black ravens”. CE “All the things that are not elements of the set of black ravens are not elements of the set of ravens”. It is assumed that the number of ravens is infinite, but it is not assumed that the number of black ravens is infinite: that the number of black ravens is infinite is only a hypothesis (for which confirmation is sought), it cannot be assumed as true that the number of black ravens is infinite. Therefore, in the generalization C we refer to a set that is assumed to be an infinite set (the set of ravens) and to a set (the set of black ravens) that is not assumed to be an infinite set. By contrast, in the generalization CE we refer to two sets that are assumed to be infinite sets (the set of all objects that are not elements of the set of black ravens and the set of all objects that are not elements of the set of ravens). Someone could argue that in the generalizations C “All the elements of the set of ravens are elements of the set of black ravens” and CE “All the things that are not elements of the set of black ravens are not elements of the set of ravens” only the set of ravens is assumed to be infinite: but even in this case an asymmetry would remain because C “ All the elements of the set of ravens are elements of the set of black ravens” refers to a set (the set of ravens) that is assumed to be an infinite set and to a set (the set of black ravens) that is not assumed to be infinite; by contrast, CE “All the things that are not elements of the set of black ravens are not elements of the set of ravens” in this case would refer to two sets that are not assumed to be infinite sets. Because of the aforementioned asymmetries, an instance of C cannot be equivalent to an instance of CE. -/- -/- . (shrink)

This tenth volume of Collected Papers includes 86 papers in English and Spanish languages comprising 972 pages, written between 2014-2022 by the author alone or in collaboration with the following 105 co-authors (alphabetically ordered) from 26 countries: Abu Sufian, Ali Hassan, Ali Safaa Sadiq, Anirudha Ghosh, Assia Bakali, Atiqe Ur Rahman, Laura Bogdan, Willem K.M. Brauers, Erick González Caballero, Fausto Cavallaro, Gavrilă Calefariu, T. Chalapathi, Victor Christianto, Mihaela Colhon, Sergiu Boris Cononovici, Mamoni Dhar, Irfan Deli, Rebeca Escobar-Jara, Alexandru Gal, N. (...) Gandotra, Sudipta Gayen, Vassilis C. Gerogiannis, Noel Batista Hernández, Hongnian Yu, Hongbo Wang, Mihaiela Iliescu, F. Nirmala Irudayam, Sripati Jha, Darjan Karabašević, T. Katican, Bakhtawar Ali Khan, Hina Khan, Volodymyr Krasnoholovets, R. Kiran Kumar, Manoranjan Kumar Singh, Ranjan Kumar, M. Lathamaheswari, Yasar Mahmood, Nivetha Martin, Adrian Mărgean, Octavian Melinte, Mingcong Deng, Marcel Migdalovici, Monika Moga, Sana Moin, Mohamed Abdel-Basset, Mohamed Elhoseny, Rehab Mohamed, Mohamed Talea, Kalyan Mondal, Muhammad Aslam, Muhammad Aslam Malik, Muhammad Ihsan, Muhammad Naveed Jafar, Muhammad Rayees Ahmad, Muhammad Saeed, Muhammad Saqlain, Muhammad Shabir, Mujahid Abbas, Mumtaz Ali, Radu I. Munteanu, Ghulam Murtaza, Munazza Naz, Tahsin Oner, ‪Gabrijela Popović‬‬‬‬‬, Surapati Pramanik, R. Priya, S.P. Priyadharshini, Midha Qayyum, Quang-Thinh Bui, Shazia Rana, Akbara Rezaei, Jesús Estupiñán Ricardo, Rıdvan Sahin, Saeeda Mirvakili, Said Broumi, A. A. Salama, Flavius Aurelian Sârbu, Ganeshsree Selvachandran, Javid Shabbir, Shio Gai Quek, Son Hoang Le, Florentin Smarandache, Dragiša Stanujkić, S. Sudha, Taha Yasin Ozturk, Zaigham Tahir, The Houw Iong, Ayse Topal, Alptekin Ulutaș, Maikel Yelandi Leyva Vázquez, Rizha Vitania, Luige Vlădăreanu, Victor Vlădăreanu, Ștefan Vlăduțescu, J. Vimala, Dan Valeriu Voinea, Adem Yolcu, Yongfei Feng, Abd El-Nasser H. Zaied, Edmundas Kazimieras Zavadskas.‬‬. (shrink)