Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work (...) to their audience's appreciative capacities. What I call the steadfast stance recommends that activist artists have reason to use their privilege of artistic exceptionalism to challenge their audience's expectations, even if this leads to misunderstanding. I claim that a middle position that I call liberal conciliation best balances the demands for actual change placed on activism and the experimental means that artists bring to activism. (shrink)

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and (...) the attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement (...) of the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor (...) of uniqueness, and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

Art is the concrete/tangible/substantial materialization of the human creative impulse to convey her/his most vital desires and needs. Art is the channel that facilitates the release of humanity´s imaginative urge that makes life more liveable and more worth enhancing. In a broader sense, we may even contend that human life in its truest essence is art itself. It is the artistic spirit of humanity that sees beauty in the natural environ of earthly existence. The course of life on earth (...) provides magnificent inspiration to the creative human being in the furtherance of the world which s/he started to create millennia ago and has been the focal point of her/his most determined struggles to survive, to improve and to make life more meaningful despite myriads of troubles, adversities and tragedies. (shrink)

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)

In this article, I aim to provide an account of the peculiar reasons that motivate our negative reaction whenever we see musical instruments being mistreated and destroyed. Stephen Davies has suggested that this happens because we seem to treat musical instruments as we treat human beings, at least in some relevant respects. I argue in favour of a different explanation, one that is based on the nature of music as an art form. The main idea behind my account is that (...) musical instruments are not mere tools for the production of art; rather, they are involved in an essential way in artistic appreciation of music. This fact not only grounds our negative reaction to their mistreatment and destruction but also has a normative force that is lacked by the account proposed by Davies. (shrink)

Theorists of aesthetic value since Hume have traditionally aimed to justify at least some comparative judgments of aesthetic value and to explain why we thereby have more reason to appreciate some aesthetic objects than others. I argue that three recent theories of aesthetic value—Thi Nguyen’s and Matthew Strohl’s engagement theories, Nick Riggle’s communitarian theory, and Dominic McIver Lopes’ network theory—face a challenge to carry out this explanatory task in a satisfactory way. I defend a monotonicity principle according to which the (...) strength of our aesthetic reasons to appreciate varies monotonically with aesthetic value and claim that these theories, because they do not respect the principle, are non-monotonic. If they cannot find a plausible way to preserve the link between the aesthetic goodness of an object and our aesthetic reasons to appreciate it, these non-monotonic theories should be rejected. (shrink)

What I should like to explore here is the experience of landscape both through the arts and as an art, an art of environmental appreciation. A clearer understanding of landscape, environment, and art, as well as what it is to "know" in the context of environmental experience, suggests how the arts can contribute to an intimate, engaged experience of landscape, and how this process itself can be construed as an art in which the perceiver is a quasi-artist. I should (...) like to do this through a re-weaving of words and ideas to propose a new fabric for understanding the relation of art, landscape, and perceiver. The threads I want to combine are four: art, environment, landscape, and knowing in the sense of appreciation. I hope to show how the loose-knit texture they form can be spread over a particular landscape in such a way that the landscape will fill the fabric and the fabric integrate the landscape. I realize that I may have over-worked my metaphor, so I shall leave it now, but I hope that it can serve as a guiding image for the relation and application of the ideas I shall be working with. (shrink)

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

Some works of conceptual art require deception for their appreciation—deception of the viewer of the work. Some experiments in social psychology equally require deception— deception of the participants in the experiment. There are a number of close parallels between the two kinds of deception. And yet, in spite of these parallels, the art world, artists, and philosophers of art, do not seem to be troubled about the deception involved, whereas deception is a constant source of worry for social psychologists. (...) Intuitively, each of these responses might seem appropriate for its sphere, but it is not easy to see what grounds these intuitions. (shrink)

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)

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)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

In the theatre, one individual, the artistic director, is saddled with the responsibility of tapping, sieving and blending the skills, talents and vocation of all the other artists into a complete artistic, visual and auditory whole. This is an enormous task which requires ingenuity, creativity and hard-work. All the effort, time, energy and money spent in this endeavour will come to nought if at the end, there is no audience to appreciate the work of all the artists who (...) laboured towards the production. Therefore, the whole idea behind any theatre activity is the presentation to an audience of a unified theatrical effect which has the capacity of arousing them both emotionally and intellectually . It has been observed that the place of the audience in the entire theatre structure and in the making of any theatre cannot be ignored particularly, as the theatre’s major and only target is the audience . The above trend may provoke one into asking what an audience is or what constitutes an audience whom the various artists work for. (shrink)

This essay aims to appreciate the evolution of the problems regarding the ontological understanding of the photographic image and its derivative, the film, in the face of the sophistication of the apparatus of its production. The creative freedom in making images through optical machines is inversely proportional to their credibility as documents. Since its appearance in the human landscape, as a cultural object, the technology of recording images with lights has brought with it a complex of aporias about what would (...) the nature of the image produced by cameras be: a document or an artistic object, intentionally produced and with created meaning? Consequently: are they denotative or, necessarily, connotative? The development of automatic image capture in the 1980s represented the first update of the question. To what extent, and for how long, will it be possible to trust photography and film as documents through which man aims to access reality? The question now seems to be settled, definitively, in the face of the invention of artificial photography made by algorithms. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that (...) this is neither original nor real art, but simply the complex imitation and reproduction of existing products of human culture. We face the old question concerning the nature of creativity: what kind of recombination of ideas, unusual analogies, and conceptual connections are considered the mark of originality? Can AI produce artworks? Could machines reach a point at which we consider them genuinely creative? We also need to investigate the challenges posed by AI-art to the notion of authoriality: Who is the author of an artificially generated artifact? An artificial system could be considered just an artist’s and a programmer’s tool. However, we are also fascinated by the idea of autonomous artificial creativity in the aesthetic domain, as a manifestation of highly intelligent behavior. This paper will try to define some key questions around what could it mean to consider a machine creative or even equipped with artistic intentionality. (shrink)

The starting point of this paper are two views: on the one hand, two general claims about street art – a broad art category encompassing works of spray painting as well as of yarn bombing, paste ups as well as sculptural interventions, tags as well as stickers, and so on – and, on the other hand, a much more specific view about certain contemporary tags produced, roughly, over the past twenty years. The two general claims are, first, that all works (...) of street art are subversive (see, e.g., Bacharach 2015; 2018; Chackal 2016; Baldini 2015; 2016; 2017; 2018; Willard 2016), second, that works of street art are the result of acts of self-expression (Riggle 2016). The specific view about certain contemporary tags is that they are artworks, although they are not presented, mainly, for appreciation of aesthetic properties grounded in their perceptual properties, because they are works of conceptual street art (see Lewisohn 2010; JAK 2012). The key question of the paper concerns, however, not contemporary tags, but “very early tags” (VETs) – a term that I shall use to designate the extremely simple, unadorned tags that first appeared in the late 1960s and that some scholars consider as the historical predecessors of the various practices that today we group under the category “street art” (see, e.g., Young 2014; Gastman et al. 2015): should we regard VETs as artworks? On the one hand, VETs writers tend to answer this question in the negative, since they stress that they didn’t cast themselves as artists and often identify the first tags that are artworks with the graphically elaborated tags that begun to be seen around New York City and Philadelphia just a few years after the appearance of the first tags. On the other hand, already in the early 1970s, artists and intellectuals such as Norman Mailer and Gordon Matta-Clark seemed to hold the view that it was appropriate to regard both VETs and later tags as art, although they didn’t defend this thesis with argument. The view that some contemporary tags that are not presented, mainly, for appreciation of their aesthetic properties might be candidates for appreciation as works of conceptual art suggests a strategy for assessing the issue whether VETs are candidates for art appreciation: can we defend the claim that the extremely simple, unadorned VETs were presented for appreciation as works of conceptual street art? I argue that we have good reasons to hold this view. (shrink)

The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...) Thus aesthetic appreciation, for example, has creative, objective, and performative aspects. This situation of four factors, together with social, cultural, technological, and historical influences on them, is called the aesthetic field. Although the factors are theoretically distinguishable, they are experienced as a unity. It is important, therefore, not to confound the theoretical explanation of aesthetic experience with the experience, itself. The aesthetic field has important implications for understanding the various individual arts, new developments in the arts, and the critical appraisal of the arts. Moreover, the concept transforms traditional issues in aesthetics. (shrink)

ABSTRACT. Consider this scenario: you discover that an artwork you greatly admire, or a captivating novel that deeply moved you, is in fact the product of artificial intelligence, not a human’s work. Would your aesthetic judgment shift? Would you perceive the work differently? If so, why? The advent of artificial intelligence (AI) in the realm of art has sparked numerous philosophical questions related to the authorship and artistic intent behind AI-generated works. This paper explores the debate between viewing AI (...) as a tool employed by human artists and perceiving AI as a new form of artistic expression with minimal human involvement. While we often seek a human mind behind certain artwork, we may still appreciate and engage with works that lack this element but have aesthetic value nonetheless. The paper also considers the traditional concept of “implied author”, suggesting that readers or artwork viewers might construct an authorial presence from the work itself, regardless of its actual origin. It will be finally suggested how AI-generated art might change our perceptions of human authorship itself. (shrink)

Many academic works as well as many works of art are such that if they had never been produced, no one would be worse off. Yet it is hard to resist the judgment that some such works are good nonetheless. We are rightly grateful that these works were created; we rightly admire them, appreciate them, and take pains to preserve them. And the authors and artists who produced them have reason to be proud. This should lead us to question the (...) view that in order for a thing to be good, in a sense which implies that the thing merits our attention and positive concern, it needs to be good for someone or something whose welfare is enhanced by it. (shrink)

Classical authors were generally artistic realists. The predominant aesthetic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this aesthetic theory as lifeless, seeing the truth of art as its subjective expression. This impasse has serious consequences for both the Church and the public square. Moving forward requires both, first, an appreciation of the strengths and weaknesses of the high modernist critique of classical mimetic theory, and, second, a theory (...) of truth which makes adequate reference to both subject and object. This paper argues that Lonergan offers just such an account of truth, and so cashes out the high modernist rejection of classical mimesis in Lonergan’s terms, thereby creating the opportunity for a synthesis of the two views. (shrink)

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals (...) help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art, namely that if one is going to do so they must ensure the pain has been ‘beautified’. In developing this second point I argue that emotional hardcore is well-suited (though not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

This is an essay on the tasks and capacities of aesthetic theory and the pitfalls that beset it. I want to show that aesthetics can be enlightening by revealing and studying the facets and dimensions of experiences we call aesthetic, experience that is expansive and revelatory. This kind of experience can also clarify the relation of aesthetics to other areas of knowledge, such as cultural studies, and conversely, the bearing of other disciplines on our aesthetic understanding. Aesthetic theory, however, is (...) easily caught up in secondary, unproductive, and false issues, and these are what gives this essay its title. What is important, I want to argue, is not what we label beautiful or call art but where we find the kind of value experiences traditionally associated with appreciating beauty, natural and artistic, and how we can enhance and develop such experiences. However, this also requires recognizing the converse of such values in the loss, the negation, the desecration of this mode of experience. I conclude by proposing a larger philosophical role for aesthetics. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some (...) particular element of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

Artwork of astounding genius requires a spectator (and not just anyone will do!). The materialist magic worked by an artistic genius only affects others; each genius is impervious to their own magic. Diderot's thought is wonderful and really deserves wider attention (if any thought really does deserve attention ...): a masterpiece is incomplete without one who can appreciate it. -/- This is a talk presented (a few years ago) to an audience of nearly none at a conference. I only (...) post it in case there is anyone out there who enjoys Diderot, art, French, hardcore materialism and magic. (shrink)

Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how (...) do these experiences foster self-transcendence? -/- A thematic analysis was performed on the online interviews conducted (N=25), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks (...) or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. -/- With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. -/- With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

This paper examines the relationship between beauty and aesthetic properties to argue that aesthetic properties are connected to a work’s content, to what a work conveys or expresses. I turn to Kant’s Critique of Judgement to make the case. My argument highlights two parts of Kant’s approach. Kant argues that pure aesthetic judgements of beauty are grounded in a harmonious yet free play of the imagination and understanding. Such free play is pleasurable and intimates that the power or capacity of (...) imagination is suitable for and can be brought within the conditions of the capacity for conceptual understanding. Within this broader frame, Kant’s account of artistic beauty specifies the relationship of aesthetic properties to the beauty of a work: aesthetic attributes help convey the aesthetic ideas that beautiful works express. I examine how Kant’s view helps us appreciate that aesthetic properties of artworks are integral to conveying the content of a work, and that the pleasure we feel has the potential to make us aware of the experience, its nature and value. (shrink)

The highly enjoyable experiences associated with drinking good wines have been widely misunderstood. It is common to regard wine appreciation as an analytical or quasi-scientific kind of activity, in which wine experts carefully distinguish the precise sensory qualities of each wine, and then pass on their accumulated factual knowledge to less experienced wine enthusiasts. However, this model of wine appreciation is seriously defective. One good way to show its defects is to provide a better and more fundamental scientific (...) account of what is involved in wine appreciation. In order to do so, I outline a novel, evolutionarily based theory of perceptual consciousness that explains why there must be imaginative as well as analytical kinds of experiences of wines. In addition, imaginative wine experiences, unlike typical imaginative artistic experiences, may be shown to involve highly individualistic, improvisatory elements that help to give wine drinking a unique place among the recreational arts. (shrink)

The idea of a new aestheticism is now explicit in both philosophical aesthetics and cultural theory with the publication of Gary Iseminger's The Aesthetic Function of Art and an anthology of essays edited by John Joughin and Simon Malpas critiquing the anti-aestheticism of literary theory. Both are significant in marking a wider trend reacting to, broadly speaking, intellectualised and historicised accounts of art, refocusing on the idea of appreciation itself, and working away from the emphasis on ideology and disregard (...) for the particularity of works in, especially, literary theory. This broader context also includes renewed debates running within philosophical aesthetics about non-perceptual aesthetic properties and the aesthetic experience of conceptual artworks, and about beauty in art, considerations that have engaged two philosophers normally identified by their commitment to art theoretical and historical (and by extension, non-aesthetic) accounts of artistic making and viewing, namely Noël Carroll and Arthur Danto. So Carroll acknowledges that what's at stake is an aesthetic theory of art that is potentially 'back in business', while Danto's 'surprising' theoretic re-engagement with the concept of beauty has been noted by Diarmuid Costello. (shrink)

The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take the opportunity to (...) relate Wittgenstein’s ideas on music to this current debate, thereby achieving a twofold goal: not only to reintroduce Wittgenstein’s ideas into the current debate, but also to use the current debate as a foil to better appreciating Wittgenstein’s otherness as a philosopher of music. I argue that Wittgenstein’s unique philosophical response to the Romantic framing of the discourse concerning musical profundity —specifically, its threefold emphasis on the specificity, aboutness, and artistically exalted status of music— occasioned a view, which was bound to be glossed over by a philosophical tradition, whose origins had made it inimical to Wittgenstein’s original philosophical insights. I conclude that, in a sense, Wittgenstein occasions a paradigm shift by his philosophical thrust to undo the gravitational forces which form the current debate: the very idea of aboutness pertaining to music, and the very idea that a clear line could ever be drawn between music and language. (shrink)

This paper addresses two related topics: 1. The disanalogies between elective cosmetic practices and sex reassignment surgery. Why does it seem necessary for me – an aging professional woman – to ignore the blandishments of hairdressers wielding dyes and dermatologists wielding acids and scalpels? Why does it not seem equally necessary for a transgendered person to repudiate sex reassignment procedures? 2. The role of the body in identity and agency. How do phenomenological insights regarding the constitution of selfhood in relation (...) to the interplay between the body image and corporeal know-how contribute to an account of the agency of transgendered individuals? Studying several paintings by contemporary feminist artist Jenny Saville has advanced my thinking on these topics. Saville’s imagery is an invaluable aid to reflection on these issues because she uses her painterly technique, which critics often dub “virtuoso,” to represent lived human bodies. In her work, viewers encounter representations of subjectivized, agentic corporeity, as distinct from inert, objectified flesh. Moreover, her sympathetic engagement with nonconformist, devalued bodies helps to reconfigure the standard gestalts of the human body that viewers typically carry with them and thus to convert fear and/or disgust into appreciation and understanding. In this paper, I consider three of Saville’s paintings. Plan, Saville’s self-portrait as a nude female whose body has been prepped for liposuction, conveys the pathos of this procedure. Matrix is a nude portrait of self-described “gender variant visual artist” Del LaGrace Volcano. In the words of one critic Saville’s depiction of Volcano’s nude intersexed body “restores beauty to the primitive [female] genital organ.” Passage, another nude portrait of an intersexed individual, is an image of vibrant sexuality despite the presumptively jarring juxtaposition of breasts and a penis. I argue that conceiving the agentic subject as a rational deliberative capability that uses a conjoined body as the instrument of its will makes it impossible to theorize the agency of transgendered people. In contrast, when agentic subjects are understood as embodied subjects and embodiment is understood as a dimension of practical intelligence, the agency of transgendered individuals is intelligible. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...) determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this (...) lacuna and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (shrink)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare (...) under his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.

I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...) based on the effects she intends to create from an imaginative use of combined hybrid imagery. Subverting the familiar philosophical notions of aesthetic distance and aesthetic appreciation, hers is not a monstrous beauty (as some feminist art theorists contend) but rather a fake beauty that still has aesthetic features worth assessing. I suggest the possibility of generational differences in understandings of the term 'feminist', i.e., shifts in meaning from early feminist theory of the 1970s to ever-evolving, twenty-first century notions of the term, all of which add to the confusion. As I negotiate this terrain, I hope to steer both critics and viewers more directly to the words of the artist herself, "I have tried to make my Self-Hybridations as 'human' as possible, like mutant beings, but I still did not think that the confusion could be possible.". (shrink)

In what way might the new classicism gain support from evolutionary theory? My rough answer is that evolutionary theory can help defend a return to more classical artistic standards and also explain why classical standards are not simply imposed by social conditioning or by powerful elites, but arise naturally from something more fundamental in the human constitution. Classical standards and themes are an expression of our evolutionary history. The mind can be seen as a biological organ or function, produced (...) by evolutionary selection pressure. The most arguable and interesting expression of this point of view is that which says that the human mind is more like a Swiss army knife than a general-purpose computer or sponge for information. Our minds are modular. First propounded by Jerry Fodor, the idea was taken up by evolutionary psychologists and fleshed out with a history. Evolution has given us cognitive modules, partly self-contained mental “machines” that are attuned to solving problems with a narrowly defined domain. Darwinian evolution has shaped our minds in particular ways that fundamentally affect our evaluation of everything we perceive and therefore our appreciation of art. I draw out a surprising implication of combining the modular view with evolution: that our aesthetic standards may, to some extent, be fragmented and not quite as universal as held by the orthodox defence of classical art. (shrink)

Wittgenstein's farcical clash with literary critic F. R. Leavis over the analysis of Empson's poem "Legal Fiction" is well known to devotees of Wittgenstein's life (Ludwig Wittgenstein: Personal Recollections (1981), edited by Rush Rhees, Oxford: Basil Blackwell, 80). Less well known is the value of studying Empson's artistic and intellectual achievement as part of the wider cultural background for the appreciation of Wittgenstein's views and influence, early and late. This talk sketches some diverting byways awaiting further exploration. A (...) recurrent theme is contradiction. (shrink)

Edvard Munch (Løten, 1863 — Ekely, 1944), Antonin Artaud (Marseille 1896–Paris 1948): deux artistes bouleversés par des conditions de santé fragile et par des crises nerveuses. Une relation s’instaure entre eux. Chacun, de manière particulière, invite le spectateur à réviser son rapport avec la mort, la mélancolie et les forces de la nature. Tantôt cette relation s’exprime dans les écrits personnels d’Artaud ; tantôt elle apparaît dans le rapprochement que nous pouvons faire entre les oeuvres graphiques d’Artaud, qui mettent en (...) exergue l’influence qui a exercé le peintre norvégien dans sa démarche artistique. Plus tard, l’approximation d’Artaud à la peinture devient plus évidente. Lui-même, non seulement poète et homme de théâtre, est aussi dessinateur et, comme témoigne nombre de ses documents écrits, porte une grande appréciation par l’art d’El Greco, Bosch, Lucas de Leyde, Bruegel et Goya. Cette étude comparative vise analyser le processus d’intertextualité qui accompagne Artaud tout au long de sa vie et qui commence précocement, quand il observe et traduit les références recueillies d’après d’autres artistes. Avec ceux-ci, il est possible de tracer une correspondance, non seulement artistique, mais aussi biographique avec Artaud. Ce projet présente des contributions pour la critique littéraire d'Antonin Artaud. Même si d'autres études ont fait le rapport entre son œuvre et la peinture, et celle d’Edward Munch, il y n’existe aucune étude plus détaillé autour du sujet. (shrink)

The choice of this topic is a curious one, perhaps, for art seems to be such a personal creation that even its appreciation may be relative and most of the time considered as subjective or reliant on impressions. Whether this idea is rightfully founded or not is reviewed in this paper: Is art’s meaning simply an impression? Does it come to exist merely because of whims and ecstasies? Is the experience of art such that it cannot but be dominated (...) by personal ideas? In answering these questions, I present a synthesis of some of the works of Jacques Maritain (1882–1973), a Thomist who has important insights concerning aesthetic experience. -/- Since the experience of art starts from its causes to the work’s appreciation by other people, the progression of this discussion is presented as follows: first, the concept of inspiration, to which artists usually attribute their creations, is assessed; then the aesthetic experience is reviewed to understand art’s qualities; and finally, the purpose and meaning of the artwork are examined. (shrink)

This book is intended to be a simple & easy-to-read guide to everything you need to know to understand & appreciate MODERN CONTEMPORARY ART. The aim is to explain the key ideas underlying the principles of modern contemporary art, so that you can meaningfully evaluate and enjoy contemporary artworks on their own terms. Anyone with an interest in any of the arts can benefit from this book: you do not need to have specialist background knowledge or artistic training. We (...) will provide you with a very down-to-earth & easily applicable understanding of modern art that you will soon be able to use whatever the occasion & whatever the artform. (And for those who require scholarly detail, we have provided footnotes and a bibliography.) Key words: modern art, contemporary art, art theory, philosophy of art, aesthetics . (shrink)

The audience occupies a very vita! and significant position within the ambience of the arts in general and theatre in particular. It remains one of the outstanding prerequisites for a complete efficacious and potent theatre experience. Its absence renders the entire activity a no event. Thus its standing within artistic and theatrical parameters is that of uniqueness and indispensability. Effiong Johnson posits that "Not considering the audience in the scheme of the performance is unpardonably a blind stupor which can (...) lead to one predictable outcome: regret!" (215). There can never be a theatre experience or event without the audience. It is considered to be the better half of the event. Their presence, cheers and signs of appreciation encourage performers to break a leg and put up a superlative performance. Nwamuo notes further that audiences beat the drums which spur performers to a frenzy (Inaugural Lecture, 15). William Byrnes adds that no matter how lofty the aesthetic aims of an organization, especially arts outfits, without the regular support of an audience, patrons or members, enough money will not come in to keep the enterprise alive (255). Audiences have existed in the theatre over centuries and have continued to exert influence in different spheres, especially the performance. Dennis Sporregivesusan insight into this by pointing out that: The audience of the 19th century played a significant part in determining what took the stage. Royal patronage was gone and box office receipts were needed to pay the bills,... The Industrial Revolution had created larger urban populations and expanded public education to a degree.... To appeal to this diverse audience, theatre managers had to program for the popular as well as the sophisticated taste if they wanted to make money (409). (shrink)