Shibumi, a Japanese term referring to a subtle elegance, but at times suggestive of austerity or even bitterness, captures a certain sense of restraint that is reflected in much traditional Japanese design. Although concepts derived from Japanese Zen Buddhism, such as ma, wabi-sabi, and iki, may be more commonly known to English-speaking audiences, this article proposes that shibumi is the more appropriate concept to apply when considering the minimalist nature inherent in much Japanese design. Moreover, this (...) article suggests that shibumi and modernist design tastes may be compatible, despite past suggestions to the contrary. To support this viewpoint, I point to evidence in the ongoing design trends in Japanese design that continue to embrace several of the ideals of twentieth-century modernist design. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in (...) the philosophy of art and everyday aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...) the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

This chapter will introduce everyday aesthetics and conceptions of happiness, explore their interconnections, and indicate some ways they might relate to depression. I introduce the main claims and concerns of everyday aesthetics and illustrate these with examples from the Indian, Chinese, and Japanese philosophical traditions. I then consider two popular accounts of happiness – ‘hedonic’ and ‘life-satisfaction’ theories – and offer an alternative phenomenological account of happiness. Aesthetic appreciation and agency and happiness, it is argued, (...) depend on a phenomenologically fundamental capacity to experience different kinds of significant possibility. It is the loss or disruption of that capacity which characterises experiences of depression. (shrink)

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of (...) creation. I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Against the Artists. Jun'ichirō Tanizaki and the Man of Art. -/- This essay explores the concepts of "art" (gei) and "man of art" (geinin) in Tanizaki's works. These two notions belong to an ancient Japanese aesthetic tradition. The concept of 'gei' means "realization", "skill", but also "technique" and "ability". Traditional stage performances such as 'nō', 'kyōgen', 'bunraku', 'kabuki', are typical examples of 'gei'. On the other hand the concept of 'geinin' implies three pivotal aspects: 1) a strict and harsh (...) aesthetic education; 2) an environment suitable to develop the man of art's sensitivity; 3) a long process of emotional maturation. This perspective, according to this paper, sheds light on the peculiar Japanese aesthetic "difference" in relation to the concepts of art and artist developed - on the contrary - in Western tradition. (shrink)

In the history of Chinese philosophy, Mozi calls music a “waste of resources,” considering it an aristocratic extravagance that does not benefit the everyday people. In its defense, Confucians highlight music’s moral and metaphysical qualities, arguing that music aids in moral cultivation and that music’s form mimics the structure of reality. The aim of this paper is to show that Korean philosophers provide yet another reason to think music is important. Music, and art in general, was used to express (...) a national identity at a time Korean philosophers were beginning to develop their own aesthetic consciousness in the seventeenth and eighteenth centuries. A cultural movement called Joseonpoong (조선풍), “Joseon wind”, marked a shift away from Sinocentrism and towards Korea’s own unique value and practices. The new attempt to justify art’s value apart from its relationship to morality or metaphysics set Joseon thinkers apart from their Chinese predecessors. Using art for identity expression allowed the Koreans to reconceive art’s value while Sinocentric cosmological and cultural views were being challenged with the introduction of western knowledge. Art also became a tool for reversing hermeneutic injustice as new artistic practices and standards allowed the Koreans to meaningfully engage with previously neglected aspects of their lived lives. (shrink)

Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art (...) such as painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life. (shrink)

In the seventeenth century, Newton used bis famous prism to found the physics of spectral light, thus revolutionising our thinking about colours; more than a hundred years later, Goethe protested against Newton's theory and discovered a number of new prismatic colour phenomena. Did these episodes in the history of science have any influence on the visual arts? For a decade now my visits to art museums have had an agenda: I have been looking for nineteenth-century paintings with certain spectral colour (...) (which will be described in the first half of this paper). While my search has been unsuccessful in traditional Western art, I found what I was looking for in Japa­nese art: in woodblock prints by Hokusai and Hiroshige. This is surprising; little Western science had reached Japan in their time. The second half of the paper pre­sents this riddle, which I am nowhere near solving. Even without a solution, however, a riddle can be instructive. In this case, it may help to bring into focus the fascinating exchange between two distant cultures. Much has been written on the cultural relativ­ity of colour perception, colour systematisation and colour aesthetics; I want to intro­duce a new and so far unknown case that might contribute to this debate - though the debate itself remains beyond the scope of this paper. (shrink)

Human relationships with cars are multifaceted and morally fraught. Cars serve multiple functions, and generate experiences characteristic of both fine art and everyday aesthetic experience – but they’re also the roots of dire eco-social ills. Recent theories tend to undermine the aesthetic aspects of human-automobile relationships in order to emphasize cars’ ethically problematic effects. But cars’ shameful consequences need not cancel out their beauty or their relevance to aesthetic theories. I suggest that David Hume’s aesthetic tenets demonstrate how and (...) why cars are beautiful, foregrounding considerations that automobile aesthetics can’t afford to ignore but that risk being obscured by cars’ positively and negatively charged status. For instance, Hume underscores rational choice as an element of aesthetic experience: we can choose how and when to experience cars’ beauty or ugliness. According to Hume, utility tends to inspire sentiments of beauty; and what is ethically good is most useful to humanity at large. But tension arises from this principle, as Hume finds that even socially harmful phenomena are yet aesthetically interesting. This provocative tension is at the heart of the aesthetic appreciation of cars, and is part of what makes such appreciation worthwhile. Hume paves the way to a realistic aesthetics of automobiles that can account for their problematic effects while refusing to downplay their aesthetic potential. This paper was presented at the 2011 Meeting of the American Society for Aesthetics in Tampa, Florida. (shrink)

I propose a construal of aesthetic value that gives us reason to emphasize some aesthetic practices over others. This construal rests on the existence of a central aesthetic value, namely apprehension-testing intricacy within an appropriate domain. I address three objections: the objection that asks how an aesthetic value based on intricacy can account for the value of minimalism; the objection that asks about the difference between intricacy within a medium and intricacy between media; and the objection that asks about the (...) danger of a regress. I then say that, although this central aesthetic value can in principle allow us to adjudicate between aesthetic practices, we have epistemic limits (about the potential of certain artistic domains to allow for apprehension-testing intricacy) that prevent adjudication in some cases. Even if there is a difference between the vastness of the potential-intricacy-fields somewhere down the line, it is too far for us to see. (shrink)

Satisfying the demand of questioning the contemporary condition implies, first of all, a criticism of present times. From this point of view, it becomes clear that art and revolution whilst practices of creative disruption are undoubtedly in crisis. Hence, it is imperative to re-read Guy Debord, who not only refused the aestheticization of politics, but also the politicization of aesthetics. For the hermeneutics of contemporary, his work is, of course, essential. Proving it is, in short, the purpose of this (...) paper. (shrink)

The tenth volume of the Frontiers of Japanese Philosophy focuses on the theme of “transition,” dealing with transitory and intermediary phenomena and practices such as translation, transmission, and transformation. Written in English, German and Japanese, the contributions explore a wide range of topics, crossing disciplinary borders between phenomenology, linguistics, feminism, epistemology, aesthetics, political history, martial arts, spiritual practice and anthropology, and bringing Japanese philosophy into cross-cultural dialogue with other philosophical traditions. As exercises in “thinking in transition,” (...) the essays reveal novel modes of doing philosophy as a way of boundary crossing that takes transition not only as an object of inquiry, but also as a method of philosophical practice itself. (shrink)

Abstract below. The published version of this article is available open access at The Monist's website. Part of Plato’s complaint about the cognitive status of art cites the pollution of aesthetic cognition by the affective side of our natures. Schopenhauer, by contrast, takes aesthetic cognition to transcend (some of) the limitations of everyday cognition precisely because in it agents become the “pure, will-less subject of cognition” (WWR I 219). On the orthodox reading of his later philosophy, Nietzsche scorns Plato (...) and Schopenhauer’s association of the value of art with its truthfulness. I challenge the orthodox reading and argue that one strand of art’s value is its penetrative cognitive power. In contrast to Schopenhauer, Nietzsche understands this cognitive power to result from the embracing and exploitation of the affects in the artistic process rather than their extirpation. (shrink)

Combining aesthetic theory with gender analysis opens a large and diverse territory to explore. Both familiar issues in the philosophy of art and new, expanded questions about the influence of culture on imagination and identity have become subjects of feminist research. Film, literature, graphic arts, advertising, and the legacies of history all contribute to the forces that shape self-image, desire, behavior, and social role – as well as the ability to imagine possibilities for change. This issue brings together an international (...) group of scholars from several disciplines who explore gender and femininity, sexuality and its several iterations, and the politics of everyday life and culture. (shrink)

Machizukuri (literally “neighborhood making”) is a recent approach to community development in Japan, beginning in the 1960s, that aims to empower local communities in the development of their built environments through “more participation, independence in the decision-making process, and the establishment of a true democracy that [gives] voice to the whole scope of the Japanese population.”[1] Those of us “who use or visit those places as dwellers, visitors, and guests... have [a] role to play in the project of world-making,” (...) and machizukuri places local communities at the center of this world-making.[2] Residents and small business owners work with government administrators and corporations to address local concerns, often represented by organizations that derive “from traditional autonomous townspeople management groups that have existed since the Edo period [1603-1868]... [T]oday, the majority of households in Japanese traditional residential areas engage in these neighborhood associations.”[3] Machizukuri plays a key role in maintaining a sense of cultural tradition in the neighborhoods of many Japanese cities by allowing local citizens to participate in this world-making.[4]. (shrink)

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present (...) contemporary art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)

Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in (...) nature, in that they are essentially gestural, referential, and symbolic, and they present material in a condensed and allusive form. Andy Warhol’s work is an example of the theatrical manipulation of presentational media to create a strange and unusual universe. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (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 chapter introduces and defends a pragmatist model of aesthetic disagreement that avoids many of the philosophical puzzles generated by the traditional, semantic, approach. Mainstream philosophical inquiry into aesthetic disagreement begins with a rather innocuous assumption: to understand what’s going on we must first explain what disputants are saying, which involves identifying the meaning of the relevant expressions or determining how aesthetic claims could be true. However, this task brings with it a new host of semantic and epistemic puzzles and (...) fails to vindicate the central role aesthetic disagreements occupy in our aesthetic lives more generally. Further, it isn’t clear how settling the meaning of aesthetic expressions bears on everyday aesthetic disagreements. Paying attention to what we do in an aesthetic disagreement will give us a better chance at identifying what matters for determining what we say. (shrink)

In “How Art Teaches: A Lesson from Goodman”, Markus Lammenranta inquires if and how artworks can convey propositional knowledge about the world. Lammenranta argues that the cognitive role of art can be explained by revising Nelson Goodman’s theory of symbols. According to Lammenranta, the problem of Goodman’s theory is that, despite providing an account of art’s symbolic function, it denies art the possibility of mediating propositional knowledge. Lammenranta claims that Goodman’s theory can be augmented by enlarging it with an account (...) of direct reference developed by Bertrand Russell and contemporary philosophy of language. On this basis, an expanded version of Goodman’s theory can explain how artworks can express propositions even without being linguistic, representational, or non-fictive. Lammenranta explicates his theory by explaining how abstract paintings and literary fictions can mediate propositional claims about the actual, everyday world. (shrink)

The philosophy of the art of living asks the age-old question of orienting one’s own life: ‘How can I live well?’ An art of living is always called for when people do not know what to do and how to go on, when the ways of life are no longer self-evident, when traditions, conventions, rules, and norms lose their plausibility and individuals begin to worry about themselves. The art of living and of its philosophy has a practical aim: It is (...) not concerned with ethical principles, but with the concrete practice of people’s everyday life, with their individual and successful lives. Friedrich Nietzsche, as he often did, pushed the problem of the art of living to the extreme, making it palpable both in its dignity and in its force. For him, the modern uncertainty of human orientation caused by nihilism pointed to art and aesthetics, which, he supposed, makes life if not justifiable, at least bearable. The arts open up a multi-perspectival seeing and hearing, they experiment with alternative forms and techniques, and create the finest sensibilities for both – Nietzsche himself, with his rich forms of philosophical writing, is an outstanding example of this. -/- The volume we present here, entails contributions of German-speaking scholars on Nietzsche and the ways of living he proposes, especially, but not alone in Dawn. The papers are selected from a book series on the common issue “Critical Art of Living,” edited by Günter Gödde, Jörg Zirfas, and others, and translated on behalf of the Foundation for Philosophical Orientation. (shrink)

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order (...) to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. (shrink)

It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new eyes with which to see what can be made of imagination in everyday life. Artistic creation offers a rich model for understanding the sort of social imagination that (...) is essential to moral deliberation. The " moral " of the arts is that everyday moral decisions can be as richly consummated as artistic productions. The distance is narrowed between this ideal and actual deliberations to the degree that a culture focuses beyond sedimented moral criteria to education of aesthetic virtues of sensitivity, perceptiveness, discernment, creativity, expressiveness, courage, foresight, communicativeness, and experimental intelligence. (Note: The key concepts and main line of argument in this article are further developed in ch. 7 of John Dewey and Moral Imagination: Pragmatism in Ethics (Indiana University Press, 2003).). (shrink)

The question of how to demarcate science from pseudo-science commands relatively little attention today. In the philosophy of logic, by contrast, the problem of demarcating the logical constants is less skeptically regarded. In aesthetics, where the problem is how to demarcate art from non-art, the question as to whether the problem is a real one or a pseudo-problem also continues to be debated. This paper discusses the hypothesis that the demarcation questions in these three areas are parallel, or at (...) least similar enough to be interesting. Some arguments for the conclusion that the demarcation problem is a pseudo-problem are considered, as are some demarcation proposals of a deflationist or minimalist sort. All are found wanting. (shrink)

This article explores the concept of sight perception from both cognitive and aesthetic perspectives, by examining the limits of visual attention. It discusses how conscious and unconscious mechanisms can influence what individuals see and may experience aesthetically. It also presents empirical research employing eye-tracking to analyze the visual behavior of visitors of an art exhibition viewing a painting of Japanese artist Isson Tanaka (1908-1977). The study demonstrates that indiscernible aspects of vision interact on the limits of perception, which gives (...) birth to new images. Specifically, the eye-tracking records and uncovers the invisible traces of people's eyes as they are observing the painting, providing opportunities for visual poetics based on sensory input and eye movements. Overall, this interdisciplinary approach contributes to a more thorough understanding of the complexities of visual perception in the arts. (shrink)

In a Covid-19 world, everyone’s circumstances changed. Most of us are living and or working in quarantine or lockdown. There is evidence that lockdown itself can have serious negative psychological impact (Brooks et al., 2020). Nonetheless, strategies are being proposed which, arguably, mitigate these harms. Artmaking is one such strategy. As ‘art therapy’, it has been usefully deployed to address a wide range of mental health challenges including anxiety, depression, fatigue and post-traumatic stress (Regev & Cohen-Yatziv, 2018). Given that these (...) self-same impacts profile the mental health challenges identified in relation to pandemic isolation, art may be useful in mitigating mental health issues associated with lockdown. This paper does not address how the role art can play in the therapeutic mix for serious mental health disorders. More specifically it is focused on a narrower brief of ills – predominantly those associated with boredom and a loss of stimulation associated with the constrained circumstances of lockdown. The kind of ‘art therapy’ this paper has in mind is more accurately described as ‘art engagement’ as it concerns individuals actively engaging with art. Art engagement is taken as self-administered utilising the time-out imposed by lockdown as an opportunity to take stock and reset. I will argue that to be of optimal benefit to people in lockdown, the art engagement model should support art practices that are easily accessible to a wide range of people, and be broadly scoped regarding areas to explore. Finally, because the benefits flowing from art engagement are central to this quest, our art engagement model will need to be able to track how art enriches or impoverishes its practitioners. This paper will set up a framework for art engagement that provides an apt account of art practices suited to people in lockdown. I will examine how the resolution of two art puzzles point the way forward in developing an art engagement model. Adventitiously, understanding these puzzles will also prove useful for art making in constrained living arrangements. Managing the first of these puzzles requires a rejection of the notion that art can be determinately defined. Instead we opt for a model that privileges practices and products that enrich the lives of practitioners. The second puzzle assumes creativity relies to varying degrees on appropriation and so appropriation acts need to be included in the model. However, this comes at a cost. Appropriation disrupts any notion that art works are stable things situated forever in the realm of art. It will be shown that appropriation causes us to adopt a more expansive view about the fluidity of what counts as an artwork. This fluidity may take us into and out of the realm of what is traditionally thought of as ‘art’ entirely and leads us to abandon any dependency on art masters and art institutions in our artmaking quests. The paper will conclude by using the model described to outline three art engagement examples that demonstrate how sometimes ordinary everyday experiences can be enriched by taking an art-engaging stance even in the highly constrained environment of lockdown. (shrink)

The connection between Kabuki theatre and Japanese woodblock prints of the Edo period (1603–1868), especially in their portraits of actors called yakusha‑e, offers an exceptional opportunity to analyse perceptions of the sex of the actor: as the hero of the drama, as well as the character performed on the stage. Both phenomena flourished in the Edo period and had a crucial impact on the visual art of the time, inspiring pictures of the Floating World (Jap. Ukiyo‑e). The images on (...) Ukiyo‑e woodblock prints serve as a pretext for approaching the matter of whether to portray an actor as a performer (a man) or as the character performed by him (which could also be a woman, as in the case of the onnagata actor). The author focuses on the actors’ identification with their own sex (only men appeared on the Kabuki stage) and on cases of breaking the convention between the real actor and his stage emploi. In the first part, the paper discusses the historical background of Kabuki theatre, which was invented by a woman (Izumo‑no Okuni) and then after a few government edicts, was allowed to be performed on the stage only by adult men. Since the Kabuki tradition has successfully continued until today, apart from surveys of theatrical archives, the author supports her arguments by also referring to contemporary phenomena, especially the Kabuki performances she has watched in Japan (in such theatres as: Kabuki‑za, Minami‑za, the National Theatre in Tokyo, and Zenshin‑za), and through interviews with actors and people of the theatre. In parallel, Ukiyo‑e images of the Edo period are studied, with core research from the National Museum in Kraków, Poland, and its collection of Japanese woodblock prints (including over 4600 original works from the Edo Period), and with special attention paid to the yakusha‑e portrait by Utagawa Kuniyoshi. (shrink)

In a letter dated 12 January 1907, written to the poet Hugo von Hofmannsthal, the philosopher Edmund Husserl presents a half-formed analogy between the artist and the phenomenologist. Husserl writes that both the artist and the phenomenologist, in their respective efforts to study the world, share the common attitude of indifference regarding the world’s existence; they both experience the world as phenomena. Both the aesthetic and phenomenological intuitions, then, are marked by the departure from the “natural” attitude, the everyday (...) ordinary attitude of taking objective reality for granted. Husserl concludes the thought by describing how the philosopher, with his observations, goes on to produce a critique of reason, whereas the artist simply gathers materials for his art.2 This is where the comparison apparently ends. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. (...) The strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

Heidegger’s notion of ‘handiness’ combines two meanings, which in my view should be separated. They both refer to ways of characterizing tools in a given culture. Every culture uses tools, and they are all used so they are ‘handy’. The question is: Handy with regard to what? Two answers come to mind. The first one suggests that handiness is typical of the aims achieved in a given culture, which are linked with that culture’s system of values. Having been fulfilled, the (...) aims seem to disappear, but new ones emerge and the cultural values are all the time appreciated. The aims and values constitute a part of the vision of the world accepted by the members of a given cultural community. In such a context, we can understand the handiness of tools as their optimum quality in facilitating the achievement of the aims which maintain the current cultural values, and so the existence of a given culture. The second answer links handiness with fulfilling the requirements of the human body. When considering the body in terms of its biological categories (as an organism) we can bear in mind its universal characteristics such as limbs, height, differences in body measurements, etc. In such a context, Martin Heidegger’s handiness can be understood pragmatically, as the features of a tool when adjusting it to the human body. In this paper, I propose a thesis that contemporary design loses handiness of the first type, while concentrating on making tools more and more comfortable for the human body. The cultural aims and values traditionally recognized in a given culture lose their priority, or seem to be ignored. At the same time, every tool user is given a chance to develop handiness of the first type. Whether we use this opportunity or not is another problem. (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)

Art as Festival Art has been a privileged sphere in the sense that it appeales to art-receivers because of its power of taking them outside the sphere of everyday life (commonplaceness) and practicality. For the first time the philosophers of ancient Greece propagated this view. In this paper the Pythagorean and Aristotle’s views are considered; however they have different metaphysical bases, there is some aspect common to theirs aesthetics. In 20th century it is Helmut Kuhn, Hans-Georg Gadamer and (...) Władysław Stróżewski who express similar ideas and convictions about an exceptionality of the meeting between art and man. In the first part of the article (the ancient) notion of “leisure” (scholé) is presented, while in the second one the case of “festival”, Festlichkeit and Eigenzeit is taken into account. (shrink)

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

This paper sets Maurice Merleau-Ponty and Nishida Kitarō in dialogue and explore the interpretations of artistic expression, which inform their similar phenomenological accounts of perception. I discuss how both philosophers look to artistic practice to reveal multi-perspectival aspects of vision. They do so, I argue, by going beyond a “positivist” representational under-standing of perception and by including negative aspects of visual experience as constitutive of vision. Following this account, I interpret artworks by Cézanne, Guo Xi, Rodin, and Hasegawa according to (...) the versions of multi-perspectival vision articulated by Nishida and Merleau-Ponty. I conclude by highlighting a difference between Merleau-Ponty’s “depth” and Nishida’s “seeing without a seer” regarding the extent to which each of their philosophies de-substantialize and de-localize human vision. (shrink)

Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that have brought (...) new focus to discussions of taste, the (beautiful) body, "art," the concept of genius, everyday aesthetics, the environment (including natural beauty), motherhood, and even bioethics. (shrink)

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

Aesthics: Art and moral attuning. Art can help us understand everyday moral deliberation. Better perhaps than ethics. People don’t just act randomly in moral situations nor do they argue internally about which ethical principle to follow before deciding what to do. We built our moral sensitivity whilst living our lives, adhering to aesthetic norms of interaction. Regular engagement with works of art educates our moral sensitivity.

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...) Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, the formalist, and the (...) postmodernist – translate into respective ways of designing and implementing experiential aesthetics-based activities. Containing relevant examples of interventions used in classes, it analyzes the ways in which the combination of different aesthetic approaches can support varied, multifaceted, multimodal and balanced teaching situations in school. (shrink)

Although we cannot find any Aesthetics system in the works of NISHIDA Kitarõ (1870-1945), the most significant and influential Japanese philosopher of the twentieth-century, one of his central themes is the role of art and aesthetics in relation with morality and religion. His aesthetics approaches are magnificent examples of his aim to overcome the innate dualism that sustains modern epistemology and a door, apparently hidden, to a better understanding of all his speculative scheme of philosophy. This (...) paper attempts to throw light to the importance of the first aesthetic approximation developed by Nishida eleven years before the publication of Zen no Kenkyû [ 善 の ?究 ] (An Inquiry into the Good) (1911) and twenty-three years before the publication of the more accurate system of aesthetics that we read in Geijutsu to dôtoku [芸術 と 道? ] (Art and Morality) (1923). We will analyze the small essay entitled "Bi no Setsumei" [美 の ?明] ("An explanation of Beauty") (1900) and Nishida's first definition of beauty as muga [無我] (self-effacement or ecstasy). (shrink)

Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from an initial centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging questions about the experience of appreciation. Traditional accounts are inadequate in their attempt to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetically changes aesthetics into a descriptive and (...) not necessarily celebratory study of sensible experience, for it must now accommodate a complete range of negative as well as positive values. Th is paper develops an analysis of the multiple dimensions of environmental sensibility. (shrink)

Estética difusa es la fórmula que sintetiza la omnipresencia de los fenómenos estéticos en el escenario actual: superada la larga fase del dominio exclusivo del arte como parámetro de los valores estéticos, la contemporaneidad se ha reconocido en una pluralidad de prácticas en las que también lo no estético es pensado y experimentado como estético. El ensayo se propone explorar los aspectos teóricos de este proceso en el que consumo material y consumo in-material confluyen en un único escenario, cotidiano y (...) omnipresente. Esta de-finición de una estética globalizada, en la que se activa plenamente el papel de lo estético en la cultura del consumo, ha configurado, en primer lugar, la opo-sición entre la estetización y la estética de lo cotidiano; en segundo lugar, un enfoque ideológico y crítico; y, por último, una perspectiva más vinculada a la experiencia estética de las prácticas del mundo de la vida contemporánea. (shrink)

The aim of this article is to examine Edmund Husserl’s theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the view that the synthetic (...) unity of the aesthetic object is limited. Moreover, following Husserl’s theory, it becomes questionable whether strongly site-specific art is art at all. I try to answer these objections by explaining how the artist prescribes the appearances and boundaries of a strongly site-specific object of art, thereby satisfying the demand for the limitedness of the synthetic unity of the aesthetic object. (shrink)

WHAT is art? Classificatory disputes.. Classificatory disputes about what is art Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (...) (from the Latin ars, meaning “skill” or “craft”) is the product or process of the effective application of a body of knowledge, most often using a set of skills; this meaning is preserved in such phrases as “liberal arts” and “martial arts”. However, in the modern use of the word, which rose to prominence after 1750, “art” is commonly understood to be skill used to produce an aesthetic result (Hatcher, 1999). (shrink)

In Games: Agency as Art, Thi Nguyen has given us a deep and compelling picture of agency as much more layered, volatile, environment-dependent and discontinuous than it appears in most philosophical accounts. Games ‘inscribe … forms of agency into artifactual vessels’.1 1 When we play a game, we take up a form of agency, including a set of motivations, values and goals, which has been artificially provided by the game. Our purpose in playing, in the kinds of gameplay that interest (...) Nguyen, is to have the aesthetic experience of first-personally exercising the kind of agency sculpted by the game. As we move in and out of gameplay, we take up and drop values, motives, and goals that are provided to us by the game. Games can expand our autonomy and the richness of life by allowing us to practice different forms of agency, taking on different ends for the aesthetic experience of striving to meet them. While I am on board with these central moves of Nguyen’s book, in this essay I will argue that the situation is substantially messier than Nguyen portrays it as being. Game play, I will claim, is inextricably embedded and entangled in its larger social, material and cultural context. Conversely, I will argue, everyday life is routinely sculpted in ways Nguyen claims are distinctive of games. (shrink)