This article analyzes the evolution of aesthetic role of the nature in the Middle Ages from the point of view of the philosophical systems influence on the interpretation of the corporal as a legitim way to the knowledge of the truth. it studies the intimate approach of neo-platonism, the shaping of its premises in the rejection of physical beauty and the change that occured after the assimilation of Aristotelianism toward a naturalistic outsourcing of the intellectual and artistic interests.

This article aims to address the widespread thesis according to which medieval scholastics would not handle the idea of fine art. Based on a suggestion by Anzulewicz, the author shows how Albert the Great did understand the peculiarity of fine arts and put them in close relationship with liberal arts. There are fine arts, such as music, which are sought after for their own sake and can, therefore, be considered as fully liberal. In contrast to them, there are other (...) arts called mechanical, whose purpose is utilitarian. In the third place, there are other arts which, although also possessing some utility, are chosen for their own sake and are therefore partly liberal; we should place fine arts such as architecture in that group. The more art participates in reason and the beauty of the soul, the more it will be fine and liberal. The product is called to be a metaphor for the honest good of virtue. The very contemplation of this beauty embodied by art evokes an aesthetic enjoyment. In this way, we can see that Albert, no less than Aquinas, speaks of the pleasure linked to the contemplation of beauty. (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)

Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, Fundamentalist Christian (...) churches in the southeastern United States’ ‘Bible Belt’. One group may claim to celebrate violence, the other sees violence as a tool to both encourage ‘moral’ behaviour, and to show that the Christian church is able to ‘speak the language’ of young people who are fans of metal, gore, and horror. Explicit violence, in each case, signifies power relationships that are in transformation. Historically, medieval morality plays and morality cycles had been used as a pedagogical tool. In the modern-day context of fundamentalist religious education, these Hell House performances seek to exclude outsiders and solidify teen membership in the Christian community. Hell House performances are marketed to the young church members, and are seen as a way to reinvigorate conservative Fundamentalist Christianity. Women and girls routinely take part in, and often organize Hell House events. In the context of heavy metal, violent performances do not seek to exclude, but provide an outlet for a variety of socially unacceptable or unpopular feelings. In each context there is an apparent, if not actual, empowering of women who are willing to play particular kinds of roles. The use of violence and gore has a value beyond merely shocking the audience, it is arguably a way that some women find their voice, both for fundamentalist Christians and fundamentalist gore metal fans. (shrink)

The Fifth Element (1997) is a French science-fiction film in English, directed and co-written by Luc Besson. The title and the plot of the film refer to a central notion of Greek philosophy, that is, pemptousia, or quintessence. Pre-Socratic philosophers such as Thales, Anaxagoras, Anaximenes and others, were convinced that all natural beings – in fact, nature itself – consist in four primary imperishable elements or essences (ousiai), i.e., fire, earth, water, and air. To these four, Aristotle added aether, a (...) fifth essence (pemptousia). The introduction of aether gave birth to a great tradition in late Antique and Medieval philosophy, and eventually it came to signify not an additional primary element, but the core-essence of all beings, their fundamental ontological structure. Besson’s film draws its inspiration on this philosophical tradition but its cinematographic rendering of the concept of Quintessence is typical of the contemporaneous views on the core characteristics of matters. The modernity that stimulates the film is equally anti-transcendentalist and anti-essentialist. Thus, the fifth element of the film is existentially personified and genderized making the traditional philosophical significance of the term to be adjusted by modernity in an immanent and temporal context where in addition aesthetics plays a crucial role. (shrink)

In their Anachronic Renaissance, Alexander Nagel and Christopher Wood identify two principles upon which, in fifteenth-century Europe, a work of art might establish its validity or authority: substitution and performance. It has become established wisdom that the dual schema of substitution and performance follows Hans Belting's dualism of the medieval cult of the image and the modern aesthetic system of art. This, I submit, is not just a mistake, but also prevents from evaluating one of the book's most ambitious (...) contributions to art-historical theory on its own merits. An analysis of the structure of the claims made by Nagel and Wood brings to light that the two concepts—substitution and performance—do not play the same role as the conceptual pair of Bild and Kunst in Belting's influential work. (shrink)

From ancient conceptions of becoming a philosopher to modern discussions of psychedelic drugs, the concept of transformation plays a fascinating part in the history of philosophy. However, until now there has been no sustained exploration of the full extent of its role. Transformation and the History of Philosophy is an outstanding survey of the history, nature, and development of the idea of transformation, from the ancient period to the twentieth century. Comprising twenty-two specially commissioned chapters by an international team of (...) contributors, the volume is divided into four clear parts: -/- - Philosophy as Transformative: Ancient China, Greece, India, and Rome - Transformation Between the Human and the Divine: Medieval and Early Modern Philosophy - Transformation After the Copernican Revolution: Post-Kantian Philosophy - Treatises, Pregnancies, Psychedelics, and Epiphanies: Twentieth-Century Philosophy. -/- Each of these sections begins with an introduction by the editors. Transformation and the History of Philosophy is essential reading for students and researchers in the history of western and non-western philosophy, ethics, metaphysics, and aesthetics. It will also be extremely useful for those in related disciplines such as religion, sociology, and the history of ideas. (shrink)

This paper determines the relation between philosophy and anthropology. It further shows the intimate correspondence on the basis of metaphysics, ethics, epistemology, language, culture and environment. This paper examines the evolution of anthropology with respect to history of philosophy which includes; Ancient Greek, Medieval and Modern philosophy. In this write up I assume to show that how philosophers have interpreted the subject matter anthropology. Since anthropology is the study of humans and what this science acquires has been explained and (...) clarified in the science of philosophy, whether it is a metaphysical study of human person, his ethical, aesthetic, rational, environmental, physical and psychological investigations. This paper exhibits the role and dimensions of humans within the scope of time, space, environment, existence and language. (shrink)

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on aesthetic testimony (...) seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the idea that (...) love-worthy qualities could be coarse-grained, when in fact they must be fine-grained. The analogy with appreciation of aesthetic qualities helps to draw out this point. Once the fine-grained nature of love-worthy qualities is properly understood, it is clear that critics of the QV cannot rely on the trading-up objection to motivate its rejection. Moreover, the paper’s core argument helps to illuminate the persistently aesthetic nature of interpersonal affections. (shrink)

We investigate the fundamental relationship between philosophical aesthetics and the philosophy of nature, arguing for a position in which the latter encompasses the former. Two traditions are set against each other, one is natural aesthetics, whose covering philosophy is Idealism, and the other is the aesthetics of nature, the position defended in this article, with the general program of a comprehensive philosophy of nature as its covering theory. Our approach is philosophical, operating within the framework of the (...) ontology of the process of the production of art, especially the views of Antonin Artaud, Heidegger, Bakhtin, Deleuze, and Guattari. We interrogate Dilthey and Worringer while outlining an ontology of art based on the production of nonhuman images and a nonpersonal experiential field of nature. (shrink)

Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. I (...) offer a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)

Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and (...) meaningful attachments to symbols in relation to our retentional apparatuses, technology and memory. Such tension can be thought of as a dissonance between overlapping domains of social life, private and public. New Media is a reflection of aesthetic dissonance, an experience such as being bored and entertained at the same time, between antagonistic experiences, values, and behavior. Moreover, new media is at once a medium of customizing aesthetic experience individually as well as the threat and practice of prioritizing calculability and modeling of consumer behavior in favor of capitalistic effectiveness, which results in the simultaneous categorization of an individual as a data point, putting those who do not fit an algorithm’s premises at a disadvantage. (shrink)

Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp on the nature of (...) aesthetic normativity; this is because, in making aesthetic commitments, we are capable of giving aesthetic concerns the weight of obligation. I argue that appealing to aesthetic commitments allows us to account for the existence of aesthetic obligations as well as their grounding. I conclude by arguing that, although the aesthetic domain is a domain of play and freedom of choice, there is nevertheless an important place in it for both aesthetic commitments and the aesthetic obligations they generate. (shrink)

The encounter of the medieval Muslims with Greek philosophy undeniably shaped the course of their philosophical and theological thought. This encounter led to the complex and contentious issue of ‘philosophy versus theology’. Medieval Muslim thinkers needed to develop a response to the issue of philosophy versus theology. The present article will first highlight the response of the Islamic theologians to their encounter with Greek philosophy in the form of three major trends in medieval Islamic theology: (1) strong (...) opposition to the application of reason and rationalist approach to Islamic doctrines, and strict adherence to the actual text of the Qur’an and the Hadith, (2) the adoption of Greek philosophy, and the application of reason and rationalist approach to explain and defend Islamic religion and (3) acknowledging the significance of reason in exploring the matters related to the natural world but, at the same time, stressing the subordination of reason to revelation. This article will discuss Atharism, Muʿtazilism and Ashʿarism as the representatives of the first, second and third trends, respectively. The response of the medieval Islamic theologians to the issue of philosophy versus theology serves as a context in which medieval Muslim philosophers carried out their philosophy–theology debate. The article will proceed to show that some medieval Muslim philosophers, such as Abu Bakr Al-Razi, subordinated religion or revelation to philosophy or reason. Other medieval Muslim philosophers, such as Al-Ghazali, subordinated philosophy to theology. The third group of medieval Islamic philosophers represented by Alfarabi argued for the reconciliation and harmonious co-existence of philosophy and religion. Contribution: This article highlights the response of medieval Islamic theologians and philosophers to the issue of philosophy versus theology that was caused by their encounter with Greek philosophy. (shrink)

I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues that (...) we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting option, then, for those wishing (...) to defend aesthetic non-cognitivism, would be to appeal to a similar argument. However, both Caj Strandberg and Walter Sinnott-Armstong have argued that Internalism is a less plausible claim to make about aesthetic judgements than about moral judgements by raising objections against aesthetic internalism. In this paper, I will argue that both of these objections can be raised against internalism about moral judgements as well. As a result, internalism is no less plausible a claim to make about aesthetic judgements than about moral judgements. I will then show how a theory of internalism about normative judgements in general is capable of avoiding both of these objections. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...) values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether (...) acts of aesthetic supererogation (acts that go beyond the call of our aesthetic obligations) are possible. In this paper, we defend the thesis that there is good reason to think such acts exist. (shrink)

Until very recently, there has been no discussion of aesthetic agency. This is likely because aesthetics has traditionally focused not on action, but on appreciation, while the standard approach identifies ‘agency’ with the will, and, more specifically, with the capacity for intentional action. In this paper, I argue, first, that this identification is unfortunate since it fails to do justice to the fact that we standardly attribute beliefs, emotions, desires, and other conative and affective attitudes that aren’t formed ‘at (...) will,’ including aesthetic appreciation, to people’s agency. Fortunately, we need not abide by this Practical Approach, but can develop an alternative: the Authority Approach to rational agency, which does justice to the widespread practice of rationally assessing, reactively responding to, and holding people responsible for non-voluntary attitudes. This is very good news for aesthetics since, I argue additionally, any account of aesthetic agency that accepts the Practical Approach, and focuses on aesthetic actions fails to provide a genuine notion of aesthetic agency. For we have no handle on what counts as aesthetic actions independently of these actions’ relation to appreciation: actions are “aesthetic” only derivatively insofar as they center around those that merit (dis)appreciation. For this reason, we have genuine aesthetic agency only if we can exercise agency in acts of the rational-affective capacity for appreciation, which differs from the will. The Authority Approach allows us to explain how we exercise agency in aesthetic appreciations, thus equipping us with a genuine conception of aesthetic agency. (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

During the 13th century, several logicians in the Latin medieval tradition showed a special interest in the nature of impossibility, and in the different kinds or ‘degrees’ of impossibility that could be distinguished. This discussion resulted in an analysis of the modal concept with a fineness of grain unprecedented in earlier modal accounts. Of the several divisions of the term ‘impossible’ that were offered, one became particularly relevant in connection with the debate on ars obligatoria and positio impossibilis: the (...) distinction between ‘intelligible’ and ‘unintelligible’ impossibilities. In this article, I consider some 13th-century tracts on obligations that provide an account of the relation between impossibility and intelligibility and discuss the inferential principles that are permissible when we reason from an impossible – but intelligible – premise. I also explore the way in which the 13th-century reflection on this topic survives, in a revised form, in some early 14th-century accounts of positio, namely, those of William of Ockham, Roger Swineshead and Thomas Bradwardine. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...) feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (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)

Aquinas, Ockham, and Burdan all claim that a person can be numerically identical over time, despite changes in size, shape, and color. How can we reconcile this with the Indiscernibility of Identicals, the principle that numerical identity implies indiscernibility across time? Almost all contemporary metaphysicians regard the Indiscernibility of Identicals as axiomatic. But I will argue that Aquinas, Ockham, and Burdan would reject it, perhaps in favor of a principle restricted to indiscernibility at a time.

What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) contextual and dynamic speci- ficity. Through both phenomenological and neuroscientific explorations I analyze what is characteristic about a more “aesthetic stance” and argue that there is a certain asym- metry between beholder and beheld, which has to do with a disengagement of goal- directed action, and which allows for other kinds of perceptual involvement than in a more “practical stance”. It is a multi-disciplinary project integrating a sensorimotor no- tion of aesthetic affordances, 18th century philosophy, and large-scale brain network findings. What ensues is a new dynamic framework for future empirical and theoretical research on aesthetic perception. (shrink)

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...) aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

In this Ph.D. dissertation, completed at the Sorbonne, it is shown that the whole of medieval philosophy was not reduced to a realist stance: in the 13th-14th centuries, an idealist stance emerged and was developed into a full-fledged epistemological idealism, personified in the philosophers Eckhart von Hochheim and Dietrich von Freiberg. This dissertation deviates from most works in the history of philosophy by proposing to see this as a taxonomy.

The claim that the having of aesthetic properties supervenes on the having of non-aesthetic properties has been widely discussed and, in various ways, defended. In this paper, I will show that even if it is sometimes true that a supervenience relation holds between aesthetic properties and the 'subvenient' non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric and irreflexive relation is required, and I shall defend the claim that the more-and-more-popular relation (...) of grounding does a much better job than supervenience. (shrink)

My aim in this paper is to advance our understanding of medieval approaches to consciousness by focusing on a particular but, as it seems to me, representative medieval debate. The debate in question is between William Ockham and Walter Chatton over the existence of what these two thinkers refer to as “reflexive intellective intuitive cognition”. Although framed in the technical terminology of late-medieval cognitive psychology, the basic question at issue between them is this: Does the mind (or (...) “intellect”) cognize its own states via higher-order (or “reflexive”) representational states? Their debate is representative both because it highlights the central dialectical issues and alternatives at play in medieval discussions of consciousness generally and because it showcases the two main types of approach to consciousness one finds in the later medieval period, namely, those that explain consciousness in terms of intentionality (typically, higher-order intentionality), and those that understand consciousness as a non-intentional, sui-generis mode of awareness. (shrink)

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...) responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible. (shrink)

The aesthetic domain is a social one. We coordinate our individual acts of creation, appreciation, and performance with those of others in the context of social aesthetic practices. More strongly, many of the richest goods of our aesthetic lives are constitutively social; their value lies in the fact that individuals are engaged in joint aesthetic agency, participating in cooperative and collaborative project that outstrips what can be realized alone. I provide an account of nature and value of two such social (...) aesthetic goods—aesthetic communities and aesthetic traditions—and further argue that such goods are a core constituent of an aesthetically good life. At the same time, I argue that the ideals of the dominant theory of aesthetic value, aesthetic value hedonism, are incompatible with a full commitment to these social aesthetic goods; the hedonist is thereby alienated from the other participants within aesthetic communities and traditions. This sets up a dilemma for the hedonist: either the hedonist must bite the bullet, accepting that the theory leads to a problematic form of aesthetic alienation; or, we must reject aesthetic value hedonism and adopt a different theory of aesthetic value which accommodates the value of social aesthetic goods. I argue that we should take the second horn of the dilemma. (shrink)

One of the most discussed views in metaethics is Moral Internalism, according to which there is a conceptually necessary connection between moral judgments and motivation to act. Moral Internalism is regarded to yield the prime argument against Moral Cognitivism and for Moral Non-Cognitivism. In this paper, I investigate the significance of the corresponding claim in metaaesthetics. I pursue two lines of argument. First, I argue that Aesthetic Internalism – the view that there is a conceptually necessary connection between aesthetic value (...) judgments and motivation to act – is mistaken. It follows, I maintain, that the most important argument against Aesthetic Cognitivism, and for Aesthetic Non-Cognitivism, is flawed, and that the latter view presumably is incorrect. Second, I argue that considerations with regard to Aesthetic Internalism give rise to two normative puzzles with relevance for the normative domain in general. The most plausible solution to these puzzles entails, I maintain, that we need to revise the established view about normative judgments. Moreover, I propose a novel externalist account of aesthetic value judgments. (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)

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

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has quite (...) a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? The (...) second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

Feminist aesthetics can be characterized as a critical conceptual framework for analyzing the gender assumptions Western aesthetics, philosophy of the arts and the arts have had and their implications in the categories they have historically employed. It emerged as a result the influence feminism had in the study of gender bias in the artistic production and its reception. Works like Linda Nochlin’s Why Have There Been No Great Women Artists? (1971) and Laura Mulvey’s Visual Pleasure and Narrative Cinema (...) (1975) were fundamental for recognizing the exclusion of women from the history of the great visual artists and how the male gaze is a predominant kind of depiction that satisfies and is designed from a masculine and heterosexual point of view. -/- During the 1970s and 1980s it started the analysis of the male gaze in literature, film and visual arts, but also the women’s artistic production demanding its recognition. However, it was not until the 1990s that philosophical feminist aesthetics was first addressed as an important and necessary area of study with the special issues Feminism and aesthetics (Hein, Korsmeyer 1990) in “Hypatia: a journal of Feminist Philosophy”, and Feminism and traditional aesthetics (Brand, Korsmeyer 1990) in “The Journal of Aesthetics and Art Criticism”. And the first introductory book on the field, Gender and aesthetics: an introduction by Carolyn Korsmeyer (2004) was published during the first decade of the 2000s. -/- Although feminist aesthetics came later than feminist political philosophy, it appeared almost at the same time as feminist perspectives of other philosophical fields, such as epistemology and philosophy of science. Like other feminist approaches to different philosophical domains, there is not a unitary feminist perspective on aesthetics, however, despite the variety of approaches, all implicitly or explicitly demand the recognition of women in its sphere of influence, that is, philosophy and the arts. Nevertheless, contrary to other fields it does not only take contributions from analytic and continental feminism, but also from cultural theory, art history, comparative literature, film theory, psychoanalysis, just to name a few disciplines and theories. Feminist aesthetics’ literature covers a broad range of topics, but the most important are the feminist critique of philosophical aesthetics and the feminist philosophy and theory of the arts. (shrink)

Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative thought. Historicism about (...) artworks carries over to at least some aesthetic properties that depend on facts of their broader historical context just as works do. One issue is whether aesthetic properties can be demarcated solely in terms of non-aesthetic properties. If not, explanations of aesthetic properties need to draw on other aesthetic notions such as aesthetic experience, attention, judgement or value. The paper examines several accounts of aesthetic value to show how they extend to aesthetic properties. The paper concludes with an overview of the current metaphysical debate between realists and non-realists about aesthetic properties. (shrink)

This chapter introduces and defends a pragmatist model of aesthetic disagreement that avoids many of the philosophical puzzles generated by the traditional, semantic, approach. Mainstream philosophical inquiry into aesthetic disagreement begins with a rather innocuous assumption: to understand what’s going on we must first explain what disputants are saying, which involves identifying the meaning of the relevant expressions or determining how aesthetic claims could be true. However, this task brings with it a new host of semantic and epistemic puzzles and (...) fails to vindicate the central role aesthetic disagreements occupy in our aesthetic lives more generally. Further, it isn’t clear how settling the meaning of aesthetic expressions bears on everyday aesthetic disagreements. Paying attention to what we do in an aesthetic disagreement will give us a better chance at identifying what matters for determining what we say. (shrink)

What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of this is that there are (...) aesthetic obligations to act, not only permissions. So, I conclude, the aesthetic asks little of us as patients and much of as agents. (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.

Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us more (...) often. (shrink)

ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...) an alternative view, according to which aesthetic discourse expresses affective states of mind, analogously to how assertions express beliefs. It is because these affective states require first-hand experience that aesthetic discourse communicates that such acquaintance is at hand. The paper furthermore argues that the lack of an experience requirement for aesthetic belief ascriptions constitutes a problem for the kind of expressivist who claims that evaluative belief states are covert non-cognitive states. (shrink)

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...) action, but unusable for doxastic repetition. I consider a new asymmetry in the usability aesthetic testimony. Consider the following cases: we seem unwilling to accept somebody hanging a painting in their bedroom based merely on testimony, but entirely willing to accept hanging a painting in a museum based merely on testimony. The switch in intuitive acceptability seems to track, in some complicated way, the line between public life and private life. These new cases weigh against a number of standing theories of aesthetic testimony. I suggest that we look further afield, and that something like a sensibility theory, in the style of John McDowell and David Wiggins, will prove to be the best fit for our intuitions for the usability of aesthetic testimony. I propose the following explanation for the new asymmetry: we are willing to accept testimony about whether a work merits being found beautiful; but we are unwilling to accept testimony about whether something actually is beautiful. (shrink)