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)

According to the most important objection to the existence of moral beauty, true judgements of moral beauty are not possible as moral judgements require being motivated to act in line with the moral judgement made, and judgements of beauty require not being motivated to act in any way. Here, I clarify the argument underlying the objection, and show that it does not show that moral beauty does not exist. I present two responses: namely, that the beauty of moral beauty does (...) not lie in the moral goodness per se (the “adjacent properties” response); and that only a dispositional motivation to act is required for the moral judgements that are typically made as part of judgements of moral beauty, whereas aesthetic judgements only rule out state motivations to act (the “equivocation of motivation required” response). In addressing the objection, I show how moral beauty is consistent with disinterestedness, and so should be accepted more widely; and also clarify where the beauty in moral beauty resides, and how the moral-aesthetic distinction should be drawn. (shrink)

ABSTRACT: Aesthetic disinterestedness is one of the central concepts in aesthetics, and Jerome Stolnitz, the most prominent theorist of disinterestedness in the 20th century, has claimed that (i) ancient thinkers engagement with this notion was cursory and undeveloped, and consequently, (ii) the emergence of disinterestedness in the 18th century marks the birth of aesthetics as a discipline. In this paper, I use the extant works of Epicurus to show that the ancient philosopher not only had similar concepts, (...) but also motivated them in careful and complex ways. I argue that, in the Epicurean theoretical framework, arts belong to the category of ‘merely natural’ desires, and this classification, combined with what we know of Epicurus’ rejection of art criticism, shows he had carefully worked out reasons supporting the idea that art ought to be approached terminally, rather than instrumentally. Finally, I compare the notion of aesthetic disinterestedness with Epicurus’ views on arts and argue that in many ways the latter are not inferior to the former, and therefore ought to belong to the history of aesthetics. (shrink)

This chapter does not presume to outline a new economic theory, nor a novel perspective on Jewish approaches to economy. Rather, it suggests the concept of pragmatic interestedness (PI) as means for thinking on the search for conscious or moral forms of capitalism. In short, pragmatic interestedness means that having interests is basic to human nature, and that interestedness is or can be non-egoistic and pro-social. This chapter proposes that PI, which has a significant role in normative Jewish tradition, can (...) contribute to the articulation of conscious capitalism. The chapter first defines what pragmatic interestedness is, and its opposite, namely disinterestedness (DI), which demands total impartiality. The second section considers the influential Christian concept of Agape or universal and egalitarian love, which is arguably at tension with eros and particular commitments (and with PI in this regard). It is argued that prominent modern philosophies secularize the Agape, especially Karl Marx’s Communism and Peter Singer’s Sentientism, in a way that marginalizes PI. The third section explores the appearance of pragmatic interestedness within rabbinic Jewish tradition, by (i) presenting the complicated duality of the concept of interest, (ii) emphasizing the recognition of human needs and interests in Judaism and (iii) highlighting Jewish sensitivity to the differences between various spheres of human commitment, and (iv) the role of market and economic considerations in Jewish tradition. The fourth section reflects more broadly on how PI may contribute to the conception of conscious or humane capitalism. (shrink)

British writers of the eighteenth century such as Shaftesbury and Hutcheson are widely thought to have used the notion of disinterestedness to distinguish an aesthetic mode of perception from all other kinds. This historical view originates in the work of Jerome Stolnitz. Through a re-examination of the texts cited by Stolnitz, I argue that none of the writers in question possessed the notion of disinterestedness that has been used in later aesthetic theory, but only the ordinary, non-technical concept, (...) and that they did not use this notion to define a specifically aesthetic mode of perception or a specifically aesthetic mode of anything else. The nearest thing that they had to the Stolnitzian conception of “the aesthetic” was their conception of taste, which differs from the former in some essential respects. (shrink)

The idea of aesthetic disinterestedness has been a central concept in aesthetics since the late eighteenth century. This exchange offers a contemporary reconsideration of disinterestedness from different sides of the question.

Taking Heidegger's prominent critique of Nietzsche's treatment of Kant's notion of 'aesthetic disinterestedness' as a foil this paper argues that, contrary to the dominant interpretation, Nietzsche's text contain a positive and radical notion of 'aesthetic disinterestedness'. It is argued that Nietzsche's naturalistic notion of aesthetic disinterestedness is a key feature of his conception of art as natural life process that contests the boundaries, values and libidinal constitution of the 'human'. The ramifications of this for Heidegger's reading of (...) Nietzche's aesthetics are considered. The paper reviews Nietzsche's critical treatment of the notion of 'aesthetic disinterestedness' in both "The Birth of Tragedy" and the "Genealogy of Morality" and relates these to his overall vision of the relationship between art and life. (shrink)

I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...) influenced by Kant’s claim that aesthetic pleasure is orthogonal to desire-satisfaction—becomes decoupled from his (further) Kantian view that aesthetic play essentially involves a harmony of sensuous receptivity and rational spontaneity. The result, I suggest, is a self-standing opposition between desires and passions. This motivates a recognizably Romantic vision of aesthetic disinterestedness, as freedom from desire realized in a state of creative determination by passion. (shrink)

Ayalon Eidelstein’s Openness and Faith focuses on the centrality of the idea of openness, or open-mindedness, to the educational sphere. The first half presents the challenges in modern ‘divided-consciousness’ and its consequences of egoism, materialism, and hedonism on the one hand, and religious fanatism on the other. Eidelstein’s main audience is the Israeli secular public, to which he proposes an educational and philosophical middle-way rooted in sincere human and inter-human openness. This openness is inspired by the idea of disinterestedness (...) that Kant articulates in his Critique of Judgment. Eidelstein refers to additional authors, including Franz Rosenzweig and Emmanuel Levinas, to conceptualize the idea of open-mindedness. In the second half of the book, he engages classical American Pragmatism, specifically that of William James, in order to establish the possibility for, and the validity of, a humane open-mindedness. Pragmatism thus paves the way for accepting beliefs that may otherwise be excluded as superstitions and accords them a legitimate and productive role in the life of a modern individual. The difficulty, however, lies in Eidelstein’s employment of Kantian disinterestedness, for it is in fact seriously dissonant with the worthy pragmatic educational purposes that Eidelstein elaborates in the second half of his book. Pragmatism is opposed to disinterestedness in that it stresses the entanglement of fact and value, viewing interests as playing a necessary and productive part in moral motivation and action, while Kantian deontology eliminates consequentialism from the moral scope. While for pragmatists (for example John Dewey’s Democracy and Education) the human creature is holistically conceived, as made of flesh and blood and not only as ‘spirit’, Kant maintained the dualistic Cartesian tradition. This tension calls for a rigorous address. Since Eidelstein’s book is making an important claim about the place open-mindedness has within the Judaism, it must be noted that the disinterestedness of a presumed human ‘self’ is also not easily compatible with the dominant voices in normative Jewish tradition. The Bible does not deal to a large extent with the ‘self’ or with mental intentions, and its conception of the human is not categorically different in the Talmudic corpus. On the contrary, the rabbis frequently endorse pragmatic and ‘external’ reasons, as the motivational basis for action. The kind of purism associated with disinterestedness (as in Mishnah Avot 5:18-19) is barely represented in rabbinic thought. Openness and Faith: In Search of Cultural Education Here and Now is nevertheless an important contribution to the intellectual discourse over the individual and public virtues. In our ever-more segregated and fenced-off world, there is an urgency to delineating the virtue of openness, hoping that Ecclesiastes is right in contending that “No person has power over the spirit [רוח] to retain it” (8:8). But to make Eidelstein’s point about openness in the second half of his book educationally viable, there a need for a pragmatic refinement of the philosophical anthropology in its first half. One way or the other, Openness and Faith is praiseworthy for its articulateness and depth, which invites its readers to an open-minded conversation about the concept of openness. (shrink)

Hacker communities of the 1970s and 1980s developed a quite characteristic work ethos. Its norms are explored and shown to be quite similar to those which Robert Merton suggested govern academic life: communism, universalism, disinterestedness, and organized scepticism. In the 1990s the Internet multiplied the scale of these communities, allowing them to create successful software programs like Linux and Apache. After renaming themselves the `open source software' movement, with an emphasis on software quality, they succeeded in gaining corporate interest. (...) As one of the main results, their `open' practices have entered industrial software production. The resulting clash of cultures, between the more academic CUDOS norms and their corporate counterparts, is discussed and assessed. In all, the article shows that software practices are a fascinating seedbed for the genesis of work ethics of various kinds, depending on their societal context. (shrink)

It is not uncommon for philosophers to name disinterestedness, or some like feature, as an essential characteristic of love. Such theorists claim that in genuine love, one’s concern for her beloved must be non-instrumental, non-egocentric, or even selfless. These views prompt the question, “What, if any, positive role might self-interestedness play in genuine love?” In this paper, I argue that attachment, an attitude marked primarily by self-focused emotions and emotional predispositions, helps constitute the meaning and import of at least (...) some kinds of adult reciprocal love. In this way, attachment represents a type of self-interestedness that not only contributes positively to such relationships but is also essential to them. (shrink)

This paper proposes a radical re-examination of the foundations of modern aesthetics. It urges that we replace the tradition of eighteenth century aesthetics, with its insistence on disinterestedness and the separateness of the aesthetic, and its problematic oppositions, such as the separation of sense from cognition. In their place it appeals to a more process-oriented, pluralistic account, one that takes note of varying cultural traditions in aesthetics, that recognizes the aesthetic as a complex of many forces and factors, and (...) that considers the aesthetic as part of a complexity of values, including moral, practical, social, and political ones. It urges, further, an aesthetic-based criticism, not only of the arts, but of culture and knowledge. Central to this account is the idea of aesthetic engagement, which not only recognizes and extends the many connections of and in aesthetic experience, but invites our total involvement as active participants. (shrink)

Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, beauty’s symbolism does (...) not refer to aesthetic ideas that either involve intelligent interests (in the beauty of nature) or presuppose an end (in the beauty of art); it also cannot be grounded in the supersensible substrate, which is an elevated and metaphysical principle of the judgment of taste given in the Dialectic but not the original principle of subjective purposiveness in the Analytic. With this formal relationship, beauty and morality accelerate each other in the empirical-anthological sense—but they are also not a sufficient or necessary condition for each other. Furthermore, through symbolism, taste looks toward the intelligible and serves as a transition from nature to freedom from the transcendental perspective. (shrink)

This essay re-examines Kierkegaard's view of Socrates. I consider the problem that arises from Kierkegaard's appeal to Socrates as an exemplar for irony. The problem is that he also appears to think that, as an exemplar for irony, Socrates cannot be represented. And part of the problem is the paradox of self-reference that immediately arises from trying to represent x as unrepresentable. On the solution I propose, Kierkegaard does not hold that, as an exemplar for irony, Socrates is in no (...) way representable. Rather, he holds that, as an exemplar for irony, Socrates cannot be represented in a purely disinterested way. I show how, in The Concept of Irony, Kierkegaard makes use of 'limiting cases' of representation in order to bring Socrates into view as one who defies purely disinterested representation. I also show how this approach to Socrates connects up with Kierkegaard's more general interest in the problem of ethical exemplarity, where the problem is how ethical exemplars can be given as such, that is, in such a way that purely disinterested contemplation is not the appropriate response to them. (shrink)

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

I clarify the arguments of my paper “Scratching an Itch” in response to a discussion piece by Brian Soucek. I also offer a new argument that objectivity is possible for aesthetic judgments about private phenomena such as somatic experiences.

Social contract is one of the most common schemes for justifying patents. According to this theory, inventors obtain a commercial exclusivity in exchange for the disclosure of the invention, with the final aim of allowing others to use that knowledge in future innovations. Under the rationale of this social contract theory of patents, if a patent system is not guided by impartiality in its decisions, the relation between disclosure of inventions and future innovation becomes an issue, because non-merit factors in (...) patent examination influence the quality of the knowledge disclosed. The aim of this article is to analyse impartiality in patent systems and, by doing so, defend that there is an epistemic side on both impartiality and social contract theory. (shrink)