The chapter challenges hyperbolic claims about the centrality of appreciation of beauty to Buddhism. Within the texts, attitudes are more mixed, except for a form of 'inner beauty' - the beauty found in the expression of virtues or wisdom in forms of bodily comportment. Inner beauty is a stable presence throughout Buddhist history, practices, and art.

The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.

This paper examines three accounts of the sleeping beauty case: an account proposed by Adam Elga, an account proposed by David Lewis, and a third account defended in this paper. It provides two reasons for preferring the third account. First, this account does a good job of capturing the temporal continuity of our beliefs, while the accounts favored by Elga and Lewis do not. Second, Elga’s and Lewis’ treatments of the sleeping beauty case lead to highly counterintuitive consequences. (...) The proposed account also leads to counterintuitive consequences, but they’re not as bad as those of Elga’s account, and no worse than those of Lewis’ account. (shrink)

Some versions of the doctrine of divine simplicity imply that God lacks really differentiated parts. I present a new argument against these views based on divine beauty. The argument proceeds as follows: God is beautiful. If God is beautiful, then this beauty arises from some structure. If God’s beauty arises from a structure, then God possesses really differentiated parts. If these premises are true, then divine simplicity is false. I argue for each of the argument’s premises and (...) defend it against objections, including an objection based on analogical predication, and an objection that supposes that God is simple while appearing complex. (shrink)

The Sleeping Beauty problem has attracted considerable attention in the literature as a paradigmatic example of how self-locating uncertainty creates problems for the Bayesian principles of Conditionalization and Reflection. Furthermore, it is also thought to raise serious issues for diachronic Dutch Book arguments. I show that, contrary to what is commonly accepted, it is possible to represent the Sleeping Beauty problem within a standard Bayesian framework. Once the problem is correctly represented, the ‘thirder’ solution satisfies standard rationality principles, (...) vindicating why it is not vulnerable to diachronic Dutch Book arguments. Moreover, the diachronic Dutch Books against the ‘halfer’ solutions fail to undermine the standard arguments for Conditionalization. The main upshot that emerges from my discussion is that the disagreement between different solutions does not challenge the applicability of Bayesian reasoning to centered settings, nor the commitment to Conditionalization, but is instead an instance of the familiar problem of choosing the priors. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

In this paper, I propose a solution to a notorious puzzle that lies at the heart of Kant’s Critique of Judgment. The puzzle arises because Kant asserts two apparently conflicting claims: (1) F→J: A judgment of beauty is aesthetic, i.e., grounded in feeling. (2) J→F: A judgment of beauty could not be based on and must ground the feeling of pleasure in the beautiful. I argue that (1) and (2) are consistent. Kant’s text indicates that he distinguishes two (...) feelings: the feeling of the harmony of the cognitive faculties that is the ground of judgments of beauty (F1 → J), and the feeling of pleasure that is its consequence (J → F2). I develop and defend a view of Kant’s account of the structure of judgments of beauty that incorporates this crucial distinction. Next, I argue that my view resolves another long-standing problem for Kant’s “Deduction” of judgments of beauty: it allows him to claim that the harmony of the faculties is a condition of judgment in general without implying, absurdly, that all judgments are pleasurable. (shrink)

One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in constitutive relation (...) to pleasure. Contemporary versions of aesthetic hedonism don’t explain what makes aesthetic values aesthetic, but they do explain what makes them normative, stating what makes it the case that aesthetic value facts lend weight to what an agent should do, for the fact that acting yields pleasure is always a reason to act. This book introduces and defends an alternative to aesthetic hedonism. According to the network theory, aesthetic value facts lend weight to its being an achievement for an agent to act. Since agents achieve by acting in coordination with one another, the theory takes seriously the sociality of aesthetic activity. The main argument for the network theory is that it better explains six facts about aesthetic activity than does aesthetic hedonism. The book also discusses the relationship between aesthetic value and pleasure, the point and distinctive character of aesthetic discourse, and the metaphysics of aesthetic value. Two final chapters use the network theory to shed light on how aesthetic value matters to us as individuals and as members of collectives. (shrink)

The best arguments for the 1/3 answer to the Sleeping Beauty problem all require that when Beauty awakes on Monday she should be uncertain what day it is. I argue that this claim should be rejected, thereby clearing the way to accept the 1/2 solution.

This paper attacks an account of Kant's controversial distinction between "free" and "dependent" beauty. I present three problems—The Lorland problem, The Crawford Problem, and the problem of intrinsic relation—that are shown to be a consequence of various interpretations of Kant's distinction. Next, I reconstruct Robert Wicks' well-known account of dependent beauty as "the appreciation of teleological style" and point out a key equivocation in the statement of Wicks' account: the judgment of dependent beauty can be thought to (...) consist in comparing any two objects' teleological styles either in respect of how or in respect of how well each realizes a common purpose. I argue that this equivocation forces Wicks into a dilemma: either he must assert the impossibility of ugliness or he must assert that the judgment of dependent beauty is reducible to the judgment of perfection. Either way, he denies important theoretic desiderata. (shrink)

Adam Elga takes the Sleeping Beauty example to provide a counter-example to Reflection, since on Sunday Beauty assigns probability 1/2 to H, and she is certain that on Monday she will assign probability 1/3. I will show that there is a natural way for Bas van Fraassen to defend Reflection in the case of Sleeping Beauty, building on van Fraassen’s treatment of forgetting. This will allow me to identify a lacuna in Elga’s argument for 1/3. I will (...) then argue, however, that not all is well with Reflection: there is a problem with van Fraassen’s treatment of forgetting. Ultimately I will agree with Elga’s 1/3 answer. David Lewis maintains that the answer is 1/2; I will argue that cases of forgetting can be used to show that the premiss of Lewis’s argument for 1/2 is false. (shrink)

The strong law of large numbers and considerations concerning additional information strongly suggest that Beauty upon awakening has probability 1⁄3 to be in a heads-awakening but should still believe the probability that the coin landed heads in the Sunday toss to be 1⁄2. The problem is that she is in a heads-awakening if and only if the coin landed heads. So, how can she rationally assign different probabilities or credences to propositions she knows imply each other? This is the (...) problem we address in this article. We suggest that ‘p whenever q and vice versa’ may be consistent with p and q having different probabilities if one of them refers to a sample space containing ordinary possible worlds and the other to a sample space containing centred possible worlds, because such spaces may fail to combine into one composite probability space and, as a consequence, ‘whenever’ may not be well-defined; such is the main contribution of this paper. (shrink)

Cian Dorr (2002) gives an argument for the 1/3 position in Sleeping Beauty. I argue this is based on a mistake about Sleeping Beauty's epistemic position.

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

Whether truth, morality, and beauty have an objective basis has been a perennial question for philosophy, ethics, and aesthetics, while for a great many relativists and skeptics it poses a problem without a solution. In this essay, the author proposes an innovative approach that shows how cognitive intelligence, moral intelligence, and aesthetic intelligence provide the basis needed for objective judgments about truth, morality, and beauty.

In this paper, I ask whether there is a defensible philosophical view according to which everybody is beautiful. I review two purely aesthetical versions of this claim. The No Standards View claims that everybody is maximally and equally beautiful. The Multiple Standards View encourages us to widen our standards of beauty. I argue that both approaches are problematic. The former fails to be aspirational and empowering, while the latter fails to be sufficiently inclusive. I conclude by presenting a hybrid (...) ethical–aesthetical view according to which everybody is beautiful in the sense that everybody can be perceived through a loving gaze. I show that this view is inclusive, aspirational and empowering, and authentically aesthetical. (shrink)

Examines (1) the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself; (2) the death of art-of-beauty from Manet onwards. Also looks briefly at some major implications for aesthetics (the philosophy of art). Paper includes some relevant reproductions.

Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense (...) of community with humanity. I close with an excursus on the more sombre note of Kantian sublimity which fractals can also present. (shrink)

Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop (...) two general strategies for resisting the emphasis on it, in the hopes of getting a clearer view of beauty’s significance. I present and discuss several literary depictions of the encounter with beauty that motivate both strategies. These depictions illustrate the ways in which aesthetic experience can be personally transformative. I argue that they present difficulties for disinterest theories and suggest we abandon the concept of disinterest to focus instead on the special kind of interest beauty fuels. I propose a closer look at the Platonic thought that beauty is the object of love. (shrink)

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

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

This paper explores the neglected ‘harms-to-others’ which result from increased attention to beauty, increased engagement in beauty practices and rising minimal beauty standards. In the first half of the paper I consider the dominant discourse of beauty harms – that of ethics and policy – and argue that this discourse has over-focused on the agency of, and possible harms to, recipients of beauty practices. I introduce the feminist discourse which recognises a general harm to all (...) women and points towards an alternative understanding; although it too focuses on engaging individuals. I argue over-focusing on harms to engaging individuals is somewhat surprising especially in liberal contexts, as this harm can broadly be regarded as ‘self-harm’ (done by individuals to themselves, or by others employed by individuals to do so). The focus on engaging individuals has resulted in the neglect of significant and pressing harms-to-others in theory, policy and practice. In the second half of the paper I turn to actual and emerging harms-to-others. I focus on three particular harms-to-others as examples of the breadth and depth of beauty harms: first, direct harm to providers; second, indirect but specific harm to those who are ‘abnormal’; and third, indirect and general harm to all. I conclude that, contrary to current discourses, harms-to-others need to be taken into account to avoid biased and partial theorising and counter-productive policy-making. I advocate recasting beauty, in a parallel way to smoking, as a matter of public health rather than individual choice. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some (...) guidance as to why a symposium on beauty merits attention in 1999. (shrink)

Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number of (...) syllables, the number of verses) as well as the aesthetic harmony which the play transmits as total to the spectators (in the same case, the content must be neither superior nor inferior to the chosen form; otherwise the form would give the impression of grotesque or inadequate). (shrink)

What degrees of belief does Sleeping Beauty's evidence support? That depends.

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

Under semantic monism I understand the thesis “The Good is said in one way” and under semantic pluralism the antithesis “The Good is said in many ways”. Plato’s Socrates seems to defend a “semantic monism”. As only one sun exists, so the “Good” has for Socrates and Plato only one reference. Nevertheless, Socrates defends in the Philebus a semantic pluralism, more exactly trialism, of “beauty, symmetry and truth” . Therefore, metaphorically speaking, there seem to exist not only one sun, (...) but three suns. If the platonic Socrates defends a semantic monism on the one hand and pluralism on the other, how can we unite his pluralism with his monism? My thesis is that the three references are “qualities” of the one single reference, or again, speaking metaphorically, “side suns” of the single sun. In the following, I propose first an exegesis of Plato’s last written word on the Good in Phil. 65 A 1-5 by dividing it into five sentences. Second, I ask a philosophical question on this monism and the corresponding hierarchy of values. (shrink)

From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature (...) and function of art (the aesthetics) developed by Enlightenment thinkers such as Hume and Kant – explanations that continue to be influential among contemporary philosophers of art. Today, however, there are fundamental questions to be asked: Is beauty still the ruling ideal of art? If not, what becomes of traditional, post-Enlightenment aesthetics which continues to shape much modern thinking about art? (shrink)

What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic (...) decoration allows for us to see “traditional kitsch” as resting on natural and even healthy impulses, I also argue that an all-too-common political function of traditional kitsch directs it to dangerous ends. (shrink)

Most scientists and philosophers of science recognize that, when it comes to accepting and rejecting theories in science, considerations that have to do with simplicity, unity, symmetry, elegance, beauty or explanatory power have an important role to play, in addition to empirical considerations. Until recently, however, no one has been able to give a satisfactory account of what simplicity (etc.) is, or how giving preference to simple theories is to be justified. But in the last few years, two different (...) but related accounts have appeared, both of which address the above issues. On the one hand, James McAllister has argued that aesthetic criteria in science reflect scientists' judgements about what kind of theory is most likely to be empirically successful, based on the relative empirical success and failure of different kinds of theories in the past. Scientists employ what McAllister dubs "the aesthetic induction". On the other hand, I have argued that we need to see science as making a hierarchy of metaphysical assumptions about the comprehensibility and knowability of the universe, these assumptions asserting less and less as one ascends the hierarchy. One of the more substantial of these assumptions is that the universe is physically comprehensible. The key non-empirical feature a body of fundamental theories in physics must possess to be acceptable is unity. The better such a body of theory exemplifies the metaphysical thesis that the universe is physically comprehensible, in the sense that it has a unified dynamic structure, so the more acceptable such a body of theory is, from this standpoint. This affects not just theoretical physics, but the whole of natural science. In this paper I compare and contrast, and try to assess impartially the relative merits of, these two views. (shrink)

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

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

This paper pursues the philosophical significance of a relatively unexplored point of Platonic aesthetics: the social dimension of beauty. The social dimension of beauty resides in its conceptual connection to shame and honour. This dimension of beauty is fundamental to the aesthetic education of the Republic, as becoming virtuous for Plato presupposes a desire to appear and to be admired as beautiful. The ethical significance of beauty, shame, and honour redound to an ethically rich notion of (...) appearing before others which corresponds to a public conception of virtue. I suggest how this dimension of beauty in Plato – particularly the emphasis on beautification – proves fruitful for reconsidering the scope and the nature of aesthetic experience. (shrink)

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

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within (...) and on the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

A brief history, overview, and assessment of the thesis that beauty is the object of love.

In two excellent recent papers, Jacob Ross has argued that the standard arguments for the ‘thirder’ answer to the Sleeping Beauty puzzle lead to violations of countable additivity. The problem is that most arguments for that answer generalise in awkward ways when he looks at the whole class of what he calls Sleeping Beauty problems. In this note I develop a new argument for the thirder answer that doesn't generalise in this way.

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled (...) body? Is the constant effort to remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; Introduction by Peg Brand. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available here). (shrink)

Most artists who are familiar with the contemporary art scene—especially the New York City scene—know that “beauty” is not especially hip. Unless, that is, it serves a “deeper” purpose, e.g., it helps to make a conceptual or political point. Danto’s influence, it would seem, pervades and persists (31). But, as Brand points out in her introduction, in the past twenty years or so, the philosophical study of beauty has been making a comeback; she lists over fifty titles that (...) have been written on the subject since the nineties. Brand’s book, Beauty Unlimited, promises to add to the feminist oeuvre on the subject. The book is comprised of twenty essays, with a foreword by Carolyn Korsmeyer and an introduction by Brand. Although the majority of the essays are interdisciplinary, they are primarily written by trained philosophers. Other essays are written by practicing artists and writers, historians, and cultural anthropologists. (shrink)

Francis Hutcheson is generally accepted as producing the first systematic study of aesthetics, in the first treatise of An Inquiry into the Original of Our Ideas of Beauty and Virtue, initially published in 1725. His theory reflected the eighteenth century concern with beauty rather than art, and has drawn accusations of vagueness since the first critical response, by Charles Louis DeVillete in 1750. The most serious critique concerns the idea of beauty itself: whether it was simple or (...) complex, and the idea of a primary or secondary quality. It is the latter question I shall answer, attempting to clarify the problematic passage that appears at the end of the first section of Hutcheson’s first treatise. (shrink)

The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both (...) by artists and in philosophy and theory of art. Beauty was no longer a central value, but just one aesthetic feature among many others. In recent years, however, the notion of beauty has been re-evaluated, some even speak of a “comeback of beauty”. Against this background it is one of the main tasks and challenges of contemporary aesthetics to develop a more profound understanding of the nature of beauty, its different forms and dimensions, and its place in art theory and practice – and in human life. In the contributions to this volume, leading scholars in the field explore the significance of the notion of beauty, its key aspects, and its relevance in various aesthetic disciplines. The questions addressed in the volume can be summarized in the following three headings: What is beauty? What is beautiful? How does the value of beauty relate to other aesthetical values? (shrink)

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 (...) class='Hi'>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)

This long essay was published in Vital Beauty, a collection including Wendy Steiner and Tim Ingold, which investigates the possibility of new ways toward beauty. This is my first encounter with Hartshorne’s Diagram of Aesthetic Values, a mandala-like structure explaining the relations between aesthetic experiences. The essay looks into the awkward history of the diagram in Hartshorne’s philosophy, its connection to Max Dessoir’s work, to Whitehead’s chapter on beauty in Adventures of Ideas and the notion of creativity (...) in Schelling. (shrink)

Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with (...) Orlan cites her own words and offers commentary and explanation on her complex and conceptual works of art. I offer a concept of "virtual beauty" and locate her aesthetic intentionality within the realm of traditional art history (works by the great "masters" of art) and traditional aesthetics, rejecting any possibility of a viewer's disinterested stance toward Orlan's visual representations. (shrink)

This short essay is part of a 5 volume work entitled 100,000 Years of Beauty complete with more than 300 authors from over 30 countries. I was aksed to write about Simone de Beauvoir and the concept of 'emancipated beauty'; I cast Beauvoir's theory of freedom--combining liberation and equality with beauty and femininity--in defiance of the long-standing and constrictive dichotomy that says women must choose one or the other. Beauvoir's most famous phrase, "One is not born, but (...) rather becomes a woman," entails a lifelong struggle against cultural, religious and philosophical norms of inequality and the restrictive ideals of beauty those norms have imposed since the days of Aristotle and Confucius. On Beauvoir's view, one can be both free from oppression and beautiful . . . (shrink)

In the context of the perpetual reproduction of consumerism in contemporary western societies, the varied and often contradictory principles of third wave feminism have been misunderstood or redefined by the dominant economic discourse of the markets. The lack of homogeneity in the theoretical debates of the third wave feminism seems to be a vulnerable point in the appropriation of its emancipatory ideals by the post-modern consumerist narratives. The beauty norm, particularly, brings the most problematic questions forth in the contemporary (...) feminist dialogues. In this paper I will examine the validity of the concept of empowerment through practices of the body, practices that constitute the socially legitimized identity of women in a consumerist western society. My thesis is that the beauty norm is constructed as a socio-political instrument in order to preserve the old, patriarchal regulation of women’s bodies. Due to the power of invisibility of the new mechanisms of social control and subjection, the consumerist discourse offers the most effective political tool for gender inequality and a complex discussion about free will and emancipation in third wave feminism debates. This delicate theoretical issues question not only the existent social order, but the very political purposes of contemporary feminism. (shrink)

In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...) the reason that it leads to the ‘everythingisbeautiful’ problem. In this paper I argue, contrary to these objections, that both finding an object beautiful and acquiring the concept represent the satisfaction of the same principle of nature’s purposiveness, which refers to the same cognitive need we have, that is, to systematize experience. I avoid the ‘everything is beautiful’ problem by arguing that aesthetic reflection refers to the synthesis of object’s individual and distinctive properties, while logical reflection refers to the synthesis of object’s general properties that it shares with other objects of its kind. Because aesthetic purposiveness is different from logical purposiveness, this allows for the possibility that we can have an object of cognition, without finding this object beautiful. (shrink)

In “Existence Is Evidence of Immortality”, Michael Huemer argues that our existence at a time gives us evidence that we are infinitely reincarnated. I argue that his argument is flawed, since it fails to account for the total evidence we gain from observing our existence at the current time. In particular, it neglects essentially de se, or self-locational, evidence. I then present a new, limited, argument for immortality. The argument takes its cue from the well-known Sleeping Beauty puzzle. It (...) argues that, if the popular “thirder” solution to the puzzle is true, then in certain cases one should become confident of one’s own immortality upon registering one’s existence. (shrink)

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!