The beginning of the 21st century has seen the renewed use of aesthetics as a critical and interpretive method within various discursive spheres. Particularly, and unsurprisingly, this move has been most pronounced in the discursive systems of philosophy and the artworld. It is to this more specific re-discovery that the authors in this journal address their arguments.

One of the important aspects of recent aesthetics is its focus on cross-disciplinary approaches. This implies that, although claims to generality and objectivity continue to be made, no single practice, science, or approach is able to provide absolute evidential support for arguments and claims. Aesthetics as a critical enterprise, therefore, is open to a plurality of explanations. As a result, art becomes more than another object of scientific or philosophical inquiry. It becomes a model for philosophical practice that can complement (...) or compete with dominant scientific paradigms. However, such aesthetic practice must respond to at least two grounds for skepticism: that a turn to aesthetics involves withdrawal from either critical and rigorous thinking or from social action and life. By discussing three core themes relevant for recent debates across the fields of philosophy, art history/theory and art pratice we would like to show how these concerns, while serious, can be taken up by aesthetics. These themes are: 1. the issue of validity (motivated by inquiries into the peculiar validity of aesthetic judgments); 2. the issue of subjectivity (motivated by the stipulated ‘special link’ between aesthetics and the human subject); and the political dimension of aesthetics (highlighted by the political implications of pluralist approaches to aesthetics, such as the need for negotiation and appeal). (shrink)

Much of Michel Foucault's work involves complex and detailed studies of madness, the clinic, the prison, the human sciences, sexuality, etc. In addition to these studies, however, three major themes may be identified on his intellectual journey. These are the analysis of epistemes, or historical regions of discourse; the investigation of “regimes of truth”; and the study of “techniques of the self”. Foucault's problematic is linked to his general claim that explanation and language do not stand on a single ground (...) or origin which sustains them. Foucault proposes to investigate particular networks of discourses, where both regular and irregular patterns may be identified. His proposed method is both epistemological and archaeological. Genealogy develops the historical perspectivism opened up by archaeology and further supports Foucault's view that the presuppositions and norms governing particular cultures and periods are maintained by a mixture of ideologies and strategic factors of various kinds. (shrink)

Gadamer's discussion of play occurs as part of his effort to develop a philosophical hermeneutics, or a theory of interpretation, that attempts to reconcile two apparently opposed concepts, namely, universality and historicity. Heidegger's “hermeneutic of facticity”, or the existential structure of understanding, as developed in Being and Time, has an important influence on Gadamer's efforts to develop an historical and universal account of interpretation. It leads Gadamer to criticize traditional views of “aesthetic” and “historical” consciousness because of their failure to (...) adequately account for the “unique, originary experiences” of human beings, such as play, which are basic both to our inherence in the world and our self‐experience. Gadamer holds that the universality of the hermeneutical experience can be approached from any starting point. Play, human action in general, speech and writing, language use, etc., are intentional phenomena and have intentional properties. (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides (...) a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

This article discusses the representation of law in Toni Morrison’s Beloved in the context of legal philosophy. Beloved’s contribution to the legal humanities has been described in terms of the contrast Morrison dramatizes between two visions of law: the violence of human chattel slavery embodied by the titular ghost, Beloved, and the communal act of solidarity that exorcizes her from her mother’s house. Yet this characterization neglects the associations Morrison draws in Beloved and in her metacommentary between the ghost and (...) other juridical forms, including personality and property. This article proposes an interpretation of Beloved that reads the ghost as a metaphor for the modern, metaphysicalized sense of the legal person for whom self-possession has become a prerequisite for action. Through a reading of Beloved that considers the final version of the novel against an unpublished earlier ending revealed by Morrison’s papers, I argue that Beloved challenges the reducibility of modern personhood to reflexive ownership. (shrink)

"Why should we care about having true beliefs? And why do demonstrably false beliefs persist and spread despite consequences for the people who hold them? Philosophers of science Cailin O’Connor and James Weatherall argue that social factors, rather than individual psychology, are what’s essential to understanding the spread and persistence of false belief. It might seem that there’s an obvious reason that true beliefs matter: false beliefs will hurt you. But if that’s right, then why is it irrelevant to many (...) people whether they believe true things or not? In an age riven by "fake news," "alternative facts," and disputes over the validity of everything from climate change to the size of inauguration crowds, the authors argue that social factors, not individual psychology, are what’s essential to understanding the persistence of false belief and that we must know how those social forces work in order to fight misinformation effectively."–Publisher’s description. (shrink)

This chapter contains sections titled: Hegel and Negative Dialectic Adorno's Disagreement with Hegel The Hegelianism of Adorno's Critical Theory: An Assessment.

This chapter examines the notion of philosophical truth that Adorno, in Negative Dialectics, believes to be possible by means of his changed conception of philosophy. What that examination finds is that philosophical truth, as Adorno recommends it, is realized through “singular” philosophical experiences. The critical question is that of how the truths that are conveyed through “singularity” can be understood to have persuasive force over us, Adorno's readers. Also examined is the relationship between the philosophically authentic “singularity” approach and the (...) critical endeavors evident, in the same book, through Adorno's engagements with a range of figures from the modern philosophical tradition. (shrink)

Plato's Bedroom is a book for people who want to be better at falling in love and being in love, with all the ecstasies and dangers erotic life can bring. It is also an inviting book for readers who are intellectually playful and up for a challenge, written with verve, and full of stories thoughtful persons will find to be mirrors of their own erotic selves. Drawing on Greek myth, Plato, Shakespeare, and a wide range of modern literature and movies, (...) the book gets Aphrodite talking with the young lovers in A Midsummer Night's Dream, and lets us listen in on Woody Allen arguing with Othello. The author's account of how we seek, fear, avoid, and sometimes destroy love, is astonishingly fresh and engaging. Throughout its pages, one hears the voice of an engaging teacher and the conversation of a wise friend. In short, this is a work of practical philosophy, not scholarship, though only a scholar could have written it. It invites readers into a deep appreciation of timeless ancient wisdom through reflecting on their own powers for love and their susceptibility to desire. A distinctive feature of the book is the interweaving of two guiding threads in Plato's conception of erotic experience: androgyny, that is, the integration of masculine and feminine; and creativity, in both a sexual and a spiritual sense. These two aspects of Plato's erotic vision, androgyny and creativity, lead readers to a sense of grateful wonder and sacred awe at our own erotic powers. Our natural experience of romantic love, articulated so well by Plato, points toward a more explicitly religious interpretation of love's commitments and pleasures. (shrink)

In this paper we critically examine and seek to extend Philip Kitcher’s Ethical Project to weave together a distinctive naturalistic conception of how ethics came to occupy the place it does in our lives and how the existing ethical project should be revised and extended into the future. Although we endorse his insight that ethical progress is better conceived of as the improvement of an existing state than an incremental approach towards a fixed endpoint, we nonetheless go on to argue (...) that the metaethical apparatus Kitcher constructs around this creative metaethical proposal simply cannot do the work that he demands of it. The prospect of fundamental conflict between different functions of the ethical project requires Kitcher to appeal to a particular normative stance in order to judge specific changes in the ethical project to be genuinely progressive, and we argue that the virtues of continuity and coherence to which he appeals can only specify rather than justify the normative stance he favors. We conclude by suggesting an alternative approach for ethical naturalists that seems to us ultimately more promising than Kitcher’s own. (shrink)

The home birth movement in the United States is an alternative health belief system that promotes a model of pregnancy and childbirth contradictory to the conventional biomedical model. The alternative model stresses normalcy and non-intervention and is informed by an ideology that promotes individual authority and responsibility for health and health care. It is founded in an epistemological system that assigns primacy and goodness to the Natural, fuses moral and practical injunctions in the arena of health behavior, and valorizes subjective (...) as well as objective sources of knowledge. ( Natural = as found in nature without technical intervention). Differences of opinion with the conventional medical model of childbirth do not spring from misunderstanding of this model, but from disagreement with it. Members of this movement are typically educated, middle class, and white. Keywords: alternative childbirth, home birth, midwifery, out-of-hospital birth. (shrink)

The life of the man whose pamphlet "Common Sense" became one of the basic tracts of the American Revolution.