While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations and unasked (...) questions. This essay addresses the paucity of work in feminist philosophy and popular music by applying insights from other areas of feminist aesthetics to questions of popular music, and thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)

Aesthetic value empiricism claims that the aesthetic value of an object is grounded in the value of a certain kind of experience of it. The most popular version of value empiricism, and a dominant view in contemporary philosophical aesthetics more generally, is aesthetic hedonism. Hedonism restricts the grounds of aesthetic value to the pleasure enjoyed in the right kind of experience. But hedonism does not enjoy any clear advantage over a more permissive alternative version of value empiricism. This alternative (...) is aesthetic liberalism. On this view, an object’s aesthetic value is fully grounded in any value—not just the hedonic value—of a correct and complete experience of its sensory features. To demonstrate the advantages of liberalism over hedonism, I apply both views to analyze the aesthetic value of the Spring Temple Buddha and Anselm Kiefer’s Seraphim. I detail four advantages of liberalism over hedonism, and I conclude by defending liberalism from two kinds of objection. (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 concept of autonomy is central to many debates in aesthetics. However, exactly what it means to be autonomous in our aesthetic engagements is somewhat unclear in the philosophical literature. The normative significance of autonomy is also unclear and hotly debated. In this essay, I propose a method for clarifying this elusive concept by distinguishing three distinct senses or varieties of aesthetic autonomy: experiential autonomy, competence-based autonomy, and personal autonomy. On this taxonomy autonomy is a context-sensitive concept and autonomy (...) applies to several different moments or stages of aesthetic appreciation. Throughout this critical discussion, important issues concerning the nature of aesthetic appreciation are also explored. (shrink)

Derogatory terms (racist, sexist, ethnic epithets) have long played various roles and achieved diverse ends in works of art. Focusing on basic aspects of an aesthetic object or work, this article examines the interpretive relation between point of view and content, asking how aesthetic contextualization shapes the impact of such terms. Can context, particularly aesthetic contexts, detach the derogatory force from powerful epithets and racist and sexist images? What would it be about aesthetic contexts that would make this possible? The (...) article puts into aesthetic contexts both Absolutist and Reclaimer views about the power of derogatory terms, applying an inferential role semantics, developed for language, to both words and images. The Reclaimer’s position, that derogation is a matter of pragmatics, of use, emphasizes the context-sensitivity of the term, that is matters who says it, to whom, when, where, and why. Understanding derogatory terms used as hate speech helps to make this position clear. The Absolutist’s position, that no contextual variations can detach the derogation from these deeply derogatory terms, is developed here through attention to subordinating images in pornography. The article argues that art may be able to achieve the deviant interpretations that the Reclaimer needs to undermine the derogations while maintaining sensitivity and awareness of the history of oppression. (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)

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)

This paper delves into the nature of intellectual property rights in aesthetic creations, particularly works of visual art and literary works. The discussion focuses on copyrights interests, but there are also implications for trademark and patent rights. The argument assumes a fairly conventional definition of "property," namely, the set of legal relations between the owner and all other persons relating to the use, enjoyment and disposition of a tangible thing. The problem with such a definition as applied to aesthetic (...) creations is that no ordinary tangible thing necessarily embodies a creation which can exist in multiple copies, so the paper takes the transcendent view that the tangible thing subject to legal relations is the entire terra firma or material universe being shaped in the image, sounds or words of the aesthetic creation. Therefore, the paradigm suggested for intellectual property is a monopoly on shaping the entire physical universe, thus the Worldmaking concept. It then follows that intellectual property in an aesthetic creation enables the owner to stop plagiarists from using any part of the material world to recreate in the audience the imaginative experiences first created by the protected work. (shrink)

This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.

This essay takes a critical look at aesthetics as the basis for nature preservation, presenting three reasons why we should not rely on aesthetic foundations to justify the environmentalist program. First, a comparison to other kinds of aesthetic value shows that the aesthetic value of nature can provide weak reasons foraction atbest. Second, not everything environmentalists want to protect has positive aesthetic qualities. Attempts have been made to get around this problem by developing a reformist attitude towards natural (...) class='Hi'>aesthetics. I argue that these approaches fail. Third, development can be as aesthetically positive as nature. If it is simply beauty we are looking for, why can't the beauty of a wellconstructed dam or a magnificent skyscraper suffice? (shrink)

Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...) environmental aesthetics, and develops a critique of the differing ecological aesthetics of Jusuck Koh and Xiangzhan Cheng. (shrink)

This essay asks how Hazlitt’s notion of artistic genius stands up today, where connoisseurs are unfashionable, expertise is distrusted and popular opinion is often courted and highly valued in the generation and reception of art. It does this by analysing Hazlitt’s concepts of gusto and “aesthetic democracy”. First, Hazlitt’s concept of aesthetic democracy is applied to the painting of Thomas Kinkade, the reassessment of ‘slaver’ statues and a conceptual project by Komar and Melamid to highlight some problems with popular (...) opinion in the assessment of art and with collaborative practices that cede authorship to participants (what I call “the democratisation of art”). Then, Hazlitt’s concept of gusto is scrutinised to argue for the importance of the role of the individual artist’s voice in the production of artworks. The article makes two conclusions. First that, Hazlitt’s separation of aesthetic democracy from political democracy negates ethical concerns about “undemocratic art”. Secondly, that Hazlitt’s concepts of artistic genius and gusto remind us of the value of the artist-individual and the aesthetic worth of their undiluted input. Consequently, Hazlitt’s concepts of artistic genius and gusto are useful tools to critically assess contemporary art, against the prevailing current of art criticism, allowing us to assert the immanent importance of art and the role of the artist in its creation. (shrink)

It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last (...) of these, environment. (shrink)

I demonstrate that analogies, both explicit and implicit, between Wittgenstein’s discussions of rituals, aesthetics, and aspect-perception, have important payoffs in terms of understanding his notion of a “surveyable representation” (übersichtliche Darstellung) as it applies to phenomena that are not exclusively grammatical in nature. In particular, I argue that a surveyable representation of certain anthropological and aesthetic facts allows us to see, qua form of aspect-perception, internal relations and formal connections, so that the inner nature of a ritual or the (...) solution of an aesthetic puzzle is exhibited. This particular form of seeing both explains why Wittgenstein thought that hypothetical explanations about the origins of a ritual are irrelevant to appreciating its meaning and elucidates his understanding of rituals, which involves seeing “internal relations” and “formal connections.” The upshots of the account for work in anthropology are discussed. (shrink)

I identify a commonly held position in environmental philosophy, “the received view,” and argue that its proponents beg the question when challenged to demonstrate the relevance of environmental aesthetics for environmental justice. I call this “the inference problem,” and I go on to argue that an alternative to the received view, Arnold Berleant’s participatory engagement model, is better equipped to meet the challenge it poses. By adopting an alternative metaphysics, the engagement model supplies a solution to the inference problem (...) and thereby provides a more useful theoretical framework for application to pressing concernsin environmental justice, such as the plight of the historical Ironbound District of Newark, New Jersey. (shrink)

In this article, I apply Australian logician and ecofeminist philosopher Val Plumwood’s Feminism and the Mastery of Nature, specifically its alternative logic of “the dance of interaction,” to a controversial community-engagement program in my home state of Alabama. At Rural Studio, Auburn University students design free housing and public works for one of the poorest regions in the United States, known as the “Black Belt.” Through the lens of Plumwood’s ecofeminist dancing logic, the marginalized source of Rural Studio’s survival is (...) revealed to be the resilience of the disempowered majority-Black community. Inspired thereby, I sketch an ecofeminist choreography with three “dancing” concepts (namely Plumwood’s “the master model,” Vandana Shiva’s “nature’s logic,” and Ariel Salleh’s “holding”), acknowledging the resilience of the disempowered as a necessary step toward an ethically-sustainable aesthetics. (shrink)

In this article I discuss the advantages of a theory of political representation for a prag- matist theory of (global) democracy. I first outline Dewey’s disregard for political rep- resentation by analyzing the political, epistemological and aesthetic underpinnings of his criticism of the Enlightenment ideal of democracy and its trust in the power of the detached gaze. I then show that a theory of political representation is not only com- patible with a pragmatist Deweyan-pragmatist perspective on democratic politics but also (...) that Dewey’s concept of “publics”, if applied to contemporary circumstances of globalized politics, requires such a theory. I suggest a pragmatic theory of political rep- resentation that combines elements of Dewey’s aesthetics, particularly his own theory of vision, with Michael Saward’s conception of representative claim-making into the notion of aesthetic democratic representation. (shrink)

In the article, tenderness, a category presented in the Nobel Prize speech by Olga Tokarczuk, is analyzed as a new ethical imperative, developing the feminist relational ethics, i.e. the ethics of care. In the proposed interpretation, tenderness is a broader category than care understood in feminist terms: it is more universal, inclusive, and unifying. Tenderness also applies to – or perhaps most of all – the world beyond-the-human, as it goes beyond the anthropocentric perspective of the ethics of care. The (...) article opens with a brief overview of feminist interventions in ethics, with an emphasis on the ethics of care. In the next step, the differences between care and tenderness are identified and described to show how the latter can develop and complement feminist ethics of care. Considerations are driven by the question of why tenderness is a better moral imperative than care – more adequate and responding to the challenges of the present times. in the last part of the article, the tender existential attunement is also interpreted in aesthetic terms as an attitude sensitizing to the beauty and complexity of the post-anthropocentric world. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist movement (...) that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

The experienced quality of urban environments has not traditionally been at the forefront of understanding how cities evolve through time. Within the humanistic tradition, the temporal dimension of cities has been dealt with through tracing urban or architectural histories or interpreting science-fiction scenarios, for example. However, attempts at understanding the relation between currently existing components of cities and planning based on them, towards the future, has not captured the experience of the temporal layers of cities to a satisfying degree. Contemporary (...) urban environments comprise both lasting and fairly stable elements as well as those that change continuously: change is an inevitable part of urban life. Different aspects of city life evolve with a different tempo: urban nature has its cycles, inhabitants their rhythms, and building materials and styles different lifespans, for example. Recognizing them becomes an especially important issue when future imaginaries are projected onto existing urban structures and when decisions about the details of urban futures are made. This paper aims at bringing environmental and urban aesthetics into the discussion about the possible directions of urban futures. The focus is on introducing the notion of aesthetic sustainability as a tool to better understand how urban futures unfold experientially and how aesthetic values of urban environments develop with time. This concept has some background in the field of design theory, more specifically in sustainable usage and product design, but it has not so far been used in order to study large scale living environments. The concept can prove to be a valuable supporting tool in urban sustainability transformations based on how it captures the experiential side of the physical and temporal dimensions of cities. (shrink)

MICHELLE MARDER KAMHI offers an in-depth response to The Aesthetics Symposium. In addition to answering many of the contributors’ objections to What Art Is: The Esthetic Theory of Ayn Rand, she offers a critique of their own theses—in particular, Barry Vacker’s claim that chaos theory is implicit in Rand’s aesthetics, Jeff Riggenbach’s argument that much of Rand’s theory was anticipated by Susanne Langer and Stephen Pepper, and Roger Bissell’s suggestion that the concept of a microcosm be applied (...) to Rand’s view of the function of art. (shrink)

The most obvious varieties of mental phenomena directed to non- existent objects occur in our experiences of works of art. The task of applying the Meinongian ontology of the non-existent to the working out of a theory of aesthetic phenomena was however carried out not by Meinong by his disciple Stephan Witasek in his Grundzüge der allgemeinen Ästhetik of 1904. Witasek shows in detail how our feelings undergo certain sorts of structural modifications when they are directed towards what does not (...) exist. He draws a distinction between genuine mental phenomena and what he calls `phantasy-material', asserting that `the job of the aesthetic object, whether it is a work of art or a product of nature, is to excite and support the actualisation of phantasy-material in the experiencing subject'. We might think of such phantasy-material as a matter of Ersatz-emotions or emotional `slop'. We could then see Witasek's aesthetics as an elaborate taxonomy of the various different sorts of Ersatz-emotions which the subject allows to be stimulated within himself in his intercourse with works of art, and see works of art themselves as machines for the production of ever more subtle varieties of such phantasy-material in the perceiving subject. (shrink)

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

Joining philosophy of language with phenomenological aesthetics, this book defines the epistemological status of abstract objects and works of art. Beginning with a provocative conversation between Socrates, Plato, Wittgenstein, and Jung, the book introduces the concept, and coins the term, "Platonic Inductive Fallacy," deriving from a cycle of language games. The author then invokes Robert Stalnaker to clarify the difference between real and actual objects, which gives new insight into the epistemology of abstract objects. Armed with defined abstract objects, (...) the reader is taken through a fascinating journey from 1890s aestheticism to present-day phenomenological aesthetics. The book clearly establishes principles and methods for defining works of art, and applies them to two versions of a Henry James novella. The clear definitions and inventive methods, supported with impressive, detailed research, lead to compelling and well-taken conclusions. This journey pays off with important and exciting results. -/- The book has been added to the National Chengchi University (NCCU) Main Library, Taipei City, Taiwan—as part of the National Science Council-subsidized humanities and social science research: phenomenology. (shrink)

Kant's claim that time is a subjective form of intuition was first proposed in his Inaugural Dissertation. This view was immediately criticised by Schultz, Lambert and Mendelssohn. Their criticisms are based on the claim that representations change which implies that change is real. From the reality of change they then argue to the reality of time, which undermines its supposed status as a subjective form of intuition that only applies to appearances. Kant took these criticisms very seriously and attempted to (...) reply to them in § 7 of the Transcendental Aesthetic. This paper provides a critical assessment of the objections raised by Schultz, Lambert and Mendelssohn as well as of Kant's diagnosis and response. In particular, it shows how Kant can consistently hold that knowledge of our mental states is restricted to knowledge of appearances. (shrink)

Where Gillo Dorfles sees an ‘aesthetic quotient’ able to promote a right relationship between man and nature, and nature and artefact, the concept of objectualization accounts for the ambivalent consequences of man’s appropriation of nature, occurring in the shaping of reality. This concept appears in the arts but also in the production of ordinary man-made objects. The latter recalibrates our own understanding of art and nature. Starting from a definition of objectualization, the hypothesis of an equation between ar- tificiality and (...) aesthetics will be found. Taking into account Dorfles’s claim about redeeming the unnatural as nature in its being the product of man’s creativity, we will assess his works focusing on the case of the artefact and graphic-musical object. Dorfles’s theory will be applied without following the different levels of analysis entirely: phenomenological, since the relationship between men, objects and machine is intentional; functional, as art depends on the role, determining a significance inside social condition, but on a symbolic or formal level, insofar as determining a stable presence of the significance at the level of the aspect, the shape becoming a mirror of men. In the end our own aesthetic constitution will be found together with the recalibration of the relationship with nature and the world through an idea of form combining artificialness and naturalness. (shrink)

Arthur C. Danto convincingly argued that works of art are not differentiated from common objects by aesthetic properties. With this he broke down the system of aestheticism, which discussed art as a sub-category of the aesthetic experience, looked for the universal, historically and culturally unconditioned significant form in works of art. At the same time, Danto’s theory can also be read as one considering the aesthetic point of view irrelevant for the essence of art. The paradigmatic starting point of Danto’s (...) theory is Andy Warhol’s Brillo Box. However it was the Brillo Box that created the opportunity for the questioning of this anti-aesthetic consequence, both Andy Warhol, when he created the Brillo Box, as well as Arthur C. Danto, when he chose it to be the starting point of his art philosophy, were driven by aesthetic motives. This inconsistency can be resolved by accepting that common objects are “transfigured” in the framework of an art theory, while adding that from the moment they have transfigured into a work of art, their (new) aesthetic properties become substantial. (shrink)

Through problematization, Foucault bares the ethical teleology of homosexuality in friendship. In an interview, he describes friendship as a way of life. In parallel with his problematization of pleasure and the love of boys in the Greco-Roman technologies of the self, friendship could be more fully understood as a mode of cultivating the self in relation to a practice of truth between friends. According to Foucault, this cultivation or care of the self is at the same time a practice of (...) freedom that defines an “aesthetics of existence.” On the other hand, at present, friendship could become a practice of freedom through a resistance of the discourse of sexuality and the overcoming of homosexuality as a sexological concept. In this paper, an alternative way of looking at homosexuality in an ethical manner is thus construed with Foucault. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...) plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (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)

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

This chapter examinates the concept of Baroque habits in its various declensions, dwelling in particular on aesthetic habits through the case study of Guarino Guarini’s Chapel of the Holy Shroud in Turin. In the first part three declensions of Baroque habits, linked together by profound implications, are identified: habits of knowledge, referred to the ideal of Baroque encyclopedism; moral habits, framed in the Baroque practices of government of affects; and aesthetic habits, consisting in regimes of or- dering of sensible experience (...) which finds in the Wunderkammer one of its highest manifestations. In the second part of this chapter, these concepts are applied and further elaborated in the light of one of the greatest results of European Baroque, the Guarinian Chapel. Through the example of the Turinese architecture it is demon- strated how Baroque representative practices perform a gesture of immanentization of the transcendent principle by composition of light and application of geometry. Such “sensible metaphysics” is aimed at both the government of affects and at the creation of a habitable space of experience, where the infinite transcendence of Christian divinity becomes source and object of habits. (shrink)

From a Hegelian perspective, Duchamp’s place in the development of the contemporary involves a synthesis of the satiric and ironic modes of art’s previous moments of dissolution. That reading reworks the theme of art’s dissolution into an analytic tool, and saves the concept of “the end of art” from being a mere slogan, one that’s charged with nostalgia and despair, but of ambiguous value as a term of art-historical and aesthetic understanding. However, once we address art in terms a systematic (...) reading of Hegel’s Lectures, we’ll finally begin to understand the potential for applying Hegel’s concept of the dissolution to the contemporary artworld. A Hegelian understanding of irony and satire will allow us to grasp historically, as a replaying of the moment of art’s dissolution, the advent of Marcel Duchamp. For better or for worse, it is in large part Duchamp’s synthesis of the satirical and ironic dissolutions of art that define contemporary art. The revised Hegelian approach that emerges is not merely critical of the contemporary, however, but is also equipped to understand and appreciate it, prepared to retain its most valuable possibilities, and thereby able to remain hopeful about what lies beyond. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

My observations here are meant to address a current lacuna in discussions of Kant's aesthetics, namely the beauty of poetry. There are, I admit, numerous treatments of poetry considered in the light of Kant's aesthetic theory, but what may not be noticed is that in discussions of poetry and Kant's aesthetics, the topic of poetic beauty only rarely comes up. This virtual silence on the beauty of poetry is surprising, given that the beautiful is obviously one of the (...) two foundational aesthetic categories in Kant's aesthetics. This silence stands out all the more given that Kant himself explicitly mentions that poems can be beautiful and furthermore declares poetry to be the highest form of fine art. Why, then, is the beauty of poetry almost never discussed in relation to Kant's aesthetics? Ultimately, I will be arguing that this silence on the beauty of poetry is a motivated one, albeit an unintentionally motivated one, namely because Kant's conception of free beauty militates against its being applied to poetry. In other words, this lacuna in discussions of Kant's aesthetics rests on a lacuna in the field of products of fine art to which the Kantian conception of free beauty can be applied. It seems that this lacuna has been overlooked in the literature principally because Kant himself overlooks it; in addition, interpreters of Kant may well independently overlook it for the same reasons that Kant apparently did. Johann Gottfried Karl Christian Kiesewetter's book, Immanuel Kant's Critik der Urtheilskraft für Uneingeweihte (1804), serves to bring the discussion into higher focus. (shrink)

This paper asks what should be the basis of a global environmental ethics. As Gao Shan has argued, the environmental ethics of Western philosophers such as Holmes Rolston and Paul Taylor is based on extending the notion of intrinsic value to that of objects of nature, and as such it is not very compatible with Chinese ethics. This is related to Gao’s rejection of most—if not all—Western “rationalist” environmental ethics, a stance that I grant her for pragmatic reasons (though I (...) remain neutral about it theoretically). Gao argues that the Daoist notion of living in harmony with nature can instead become the basis of a Chinese environmental ethics. However, the involved Daoist conception of living in harmony with nature is, in my view, based on an aesthetic property. The paper argues that despite the appeal of the Daoist view for a Chinese environmental ethics, an aesthetic property cannot provide the basis for a global environmental ethics. The paper also considers another version of Daoist environmental ethics, which does not rely on an aesthetic notion, but I argue that it too fails as such a candidate. As an alternative, the paper considers and applies contemporary Western thinkers on gratitude (such as Robert Emmons and Elizabeth Loder), proposing that gratitude to nature (environmental gratitude) can indeed provide the needed basis. (shrink)

This essay addresses the question of virtual church, particularly on whether or not liturgy can be done virtually. We will approach our subject from a somewhat unusual perspective by looking to types of aesthetic experiences which we have been doing “virtually” for a long time. By exploring how we experience art in virtual and physical contexts, we gain insight into the corresponding experiences in liturgical practices. Drawing on Mikel Dufrenne, Maurice Merleau-Ponty and Gabriel Marcel, I first examine the importance of (...) the body when we experience “presence” in aesthetic environments. Next, I consider the weight of the body in experiences of presence in liturgical practices, both in person and virtual, guided again by Gabriel Marcel as well as Bruce Ellis Benson, Emmanuel Falque, Christina Gschwandtner and Éric Palazzo. Through these reflections, I argue that what art teaches us about the significance of the physical closeness of the human applies to the practice of liturgy and that, while unexpected benefits will surface in virtual settings, nothing replaces the powerful experiences that arise when the body is physically present. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

The paper examines the evolution of modernity concepts starting from the Renaissance to the present day, emphasizing the impact on architecture and urbanism. During the period of the Renaissance and the Enlightenment, people framed an evolutionary notion of history and the concept of the modern associated with the contemporary, the new, and the fleeting emerged. This period connected modernity with the idea of relativity of truth as opposed to the absolute truth of the Middle Ages. In the 18th and 19th (...) centuries, modernity clashed with tradition. This led to economic and political modernization. It also influenced artistic movements and cultural trends. The Industrial Revolution epitomized this period. It was driven by scientific and technological advancements. The paper discusses the objective and subjective perspectives of modernity, highlighting its dual nature in socioeconomic processes and personal experiences. Key thinkers like Habermas Weber and Baudelaire provide frameworks for understanding modernity's developments in science, art, and morality. The avant-garde movements influenced by Bauhaus, emphasized functionality. They also focused on rationality in architecture. However, critiques emerged, advocating the concept of unitary urbanism. This vision includes adaptable living spaces. It promotes an ever-changing urban environment, as exemplified by Constant's New Babylon. The Adorno's aesthetic theory criticized the industry's commodification of art and emphasizes art's utopian potential. Adorno's concept of mimesis and his critique of rationality and instrumental reason are explored reflecting the paradoxical nature of modernity. Finally, the paper contrasts the views of architects like Mies van der Rohe, Norberg-Schulz, and Eisenman. It concludes by reflecting on architecture's ongoing interaction with modernity. It emphasizes a balance between innovation tradition and the dynamic nature of human experience and social development. (shrink)

In Franz Rosenzweig's "The Star of Redemption" the chorus comes on stage in three forms: chorus in tragedy (with its presence in ancient classical tragedy and its absence in modern one), chorus of redemption and chorus in church music. Analyzing the role of chorus is useful to study Rosenzweig's aesthetics, which is in a way a "classical" art theory, but not an idealistic "pure" aesthetics, inasmuch as art must be "applied" art. An idealistic pure art condemns us (...) to live in an hortus conclusus, far away from God and from life, while an applied art brings us near to the lost gan 'eden. (shrink)

Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where the domains (...) are ontologically subjective, can further elucidate this unsolved question. In this sense, Art and AI and ultimately consciousness are multifaceted domains where conventional complexity theory and current philosophical approaches may be augmented by aesthetic principles ranging from classical Aristotelian essentialism to Wittgensteinian anti-essentialism. This approach of AI as art may offer novel solutions to characterising and elucidating the ciphers of consciousness and AI. (shrink)

When travelling to a new city, we acquire knowledge about its physical terrain, directions, historical facts and aesthetic features. Engaging in tourism practices, such as guided walking tours, provides experiences of a city that are necessarily mediated and partial. This has led scholars in tourism studies, and more recently in philosophy, to question the epistemological value of city tours, critiquingthem as passive, lacking in autonomous agency, and providing misrepresentative experiences of the city. In response, we argue that the mediated and (...) partial knowledge of a city acquired through city tours is not epistemologically disvaluable. Although city tours involve the transmission of testimonial knowledge, this does not necessarily render tourists as passive and non-autonomous. Instead,tourists have the potential to participate in the generation of their knowledge actively. Moreover, we argue that city tours also provide a tourist with valuable ‘objectual’ knowledge of a city, whichhas the potential to be first-personal and active, and does not necessarily misrepresent the city’s identity. This type of knowledge is valuable both for tourists as credible epistemic agents, and for the city itself, as the knowledge generated by the tour can facilitate an accurate representation of the city and promote social transformation. We conclude by highlighting four further epistemic and ethical implications of our argument. (shrink)

We apply a familiar distinction from philosophy of language to a class of material artifacts that are sometimes said to “speak”: statues. By distinguishing how statues speak at the locutionary level versus at the illocutionary level, or what they say versus what they do, we obtain the resource for addressing two topics. First, we can explain what makes statues distinct from street art. Second, we can explain why it is mistaken to criticize—or to defend—the continuing presence of statues based only (...) on what they represent. Both explanations are driven by the same core idea: the significance of statues arises primarily from what they do, and not what they say. (shrink)

The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...) theory across the arts and to a variety of issues, demonstrating that it has far-reaching implications for our philosophical understanding of the nature of art.” - Stephen Davies, Associate Professor of Philosophy, University of Auckland.. (shrink)

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

Margaret MacDonald (1907–56) was a central figure in the history of early analytic philosophy in Britain due to both her editorial work as well as her own writings. While her later work on aesthetics and political philosophy has recently received attention, her early writings in the 1930s present a coherent and, for its time, strikingly original blend of common-sense and scientific philosophy. In these papers, MacDonald tackles the central problems of philosophy of her day: verification, the problem of induction, (...) and the relationship between philosophical and scientific method. MacDonald’s philosophy of science starts from the principle that we should carefully analyse the elements of scientific practice (particularly its temporal features) and the ways that scientists describe that practice. That is, she applies the techniques of ordinary language philosophy to actual scientific language. MacDonald shows how ‘scientific common-sense’ is inconsistent with both of the dominant schools of philosophy of her day. Bringing MacDonald back into the story of analytic philosophy corrects the impression that in early analytic philosophy, there are fundamental dichotomies between the style of Moore and Wittgenstein, on the one hand, and the Vienna Circle on the other. (shrink)

The production of artworks can be based on a fixed modus operandi, i.e., on a general manner and, alongside, specific patterns to be applied all over again. Alternatively, each artwork can be seen as (cor-)responding to an individual problem for which there is no recipe; in this case it needs to be looked at afresh. That approach characterizes the aesthetics of music composer Isabel Mundry (*1963); her art, ever unpredictable, is one of nuances.