Aesthetic theories, like theories of morals, are roughly divisible into those that maintain an analytic neutrality and those that attempt to arrive at “first-order”, practical judgments. A philo sopher of language may confine the legitimate task of aesthetics to the clarification of talk about works of art and about the fashioning of works of art. But other aestheticians, perhaps a more numerous group, see their study as far more intimately related to art criticism, and as able, without the committing of (...) naturalistic or any other fallacies, to reach particular aesthetic value-judgments. Between these extreme positions lies a great diversity of theories which, while clearly differentiating aesthetics from art criticism, still carry practical implications of a general kind. The conceptual scaffolding into which they fit the art-forms, their notion of what is central to aesthetic experience and what peripheral, their account of artistic creativity-all these can be indirectly evaluative, can subtly influence and alter one's responses to actual aesthetic objects. (shrink)

Aesthetic appreciation of landscape is by no means limited to the sensuous enjoyment of sights and sounds. It very often has a reflective, cognitive element as well. This sometimes incorporates scientific knowledge, e.g.,geological or ecological; but it can also manifest what this article will call 'metaphysical imagination', which sees or seems to see in a landscape some indication, some disclosure of how the world ultimately is. The article explores and critically appraises this concept of metaphysical imagination, and some of the (...) roles it can play in our aesthetic encounters. (shrink)

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How can we best understand our aesthetic appreciation of sky and space? This essay begins by outlining the nature of spatial experience through some examples. Then it examines how our responses can be shaped by art and myth. Here we see how themes, such as ascension, that were current in prehistory and developed religions, can be reappropriated as components of a justifiable aesthetic experience. However, the task of finding defensible aesthetic responses to space as both experience and abstract idea does (...) present paradoxes. For example, how are we to respond to scientific updates about the ever greater vastness of space? The way forward presented here is to endorse, but not with any sense of uniqueness of misplaced grandeur, our freedom to contemplate with due seriousness both the near and the far and our own capacities, such as imagination and love, as also part of the wonder and mystery of the universe. (shrink)

Ronald W Hepburn; Art, Truth and the Education of Subjectivity, Journal of Philosophy of Education, Volume 24, Issue 2, 30 May 2006, Pages 185–198, https://doi.

Ronald W Hepburn; Art, Truth and the Education of Subjectivity, Journal of Philosophy of Education, Volume 24, Issue 2, 30 May 2006, Pages 185–198, https://doi.

Ronald W. Hepburn; Particularity and Some Related Concepts in Aesthetics, Proceedings of the Aristotelian Society, Volume 59, Issue 1, 1 June 1959, Pages 189–21.

The aesthetic appreciation of both art and nature is often, in fact, judged to be more – and less – serious. For instance, both natural objects and art objects can be hastily and unthinkingly perceived, and they can be perceived with full and thoughtful attention. In the case of art, we are better equipped to sift the trivial from the serious appreciation; for the existence of a corpus, and a continuing practice, of criticism of the arts – for all their (...) internal disputatiousness – furnishes us with relevant criteria. In the case of nature, we have far less guidance. Yet it must matter, there too, to distinguish trivial from serious encounters. When we seek to defend areas of “outstanding natural beauty” against depredations, it matters greatly what account we can give of the appreciation of that beauty: how its value can be set alongside competing and vociferously promoted values involved in industry, commerce and urban expansion. If we wish to attach very high value to the appreciation of natural beauty, we must be able to show that more is involved in such appreciation than the pleasant, unfocused enjoyment of a picnic place, or a fleeting and distanced impression of countryside through a touring-coach window, or obligatory visits to standard viewpoints or snapshot-points.That there is much work to be done on this subject is of course due to the comparative neglect of natural beauty in recent and fairly recent aesthetics. (shrink)

This title was first published in 2001. This book focuses on the rich web of interrelations between aesthetic and wider human concerns. Among topics explored are concepts of truth and falsity, superficiality and depth in aesthetic appreciation of nature, moral beauty and ugliness, the projects of integrating a life, of fashioning a life as a work of art, experiments in the aesthetic re-working of the 'sacred', the role of imagination within religion and in our attempts to place and identify ourselves (...) within the cosmos. The essays are both interlinked and distinct, allowing them to be read in any order, and providing useful themes for discussion groups and seminars. The author aims to arouse in the reader something of his enjoyment in unravelling the connections of ideas that come into view when one approaches aesthetics in its widest setting. (shrink)

First published in 1966, The Discipline of the Cave is the first series of a course of Gifford lectures on philosophical issues.. J N Findlay’s lectures use the image of the Cave to show how familiarity is full of restrictions, and involves puzzles and discrepancies unable to be resolved or removed. Such philosophical perplexities may be a result of the misunderstanding and abuse of ordinary ways of thinking and speaking. They may also be a way of ‘drawing us towards being’, (...) providing proof of the absurdity of ordinary thought, speech and experience unless modified and added to in ways which may point beyond it. What may be called a mystical and otherworldly element may need to be introduced into or rendered explicit in all our experience in order to give a viable sense to the most commonplace human utterances and activities. (shrink)

"At a time when God-talk fills the air, Professor Ronald Hepburn's cold drafts of common sense will be both satisfying and disturbing to the man of religious imagination. Utilizing an argument which is both transparent and profound, he demonstrates the challenges posed by linguistic philosophy to Christian theology and shows the weakness of much that passes for contemporary theological argument. His plea for a regretful agnosticism will disturb some, and surely occasion the re-examination of the most fundamental premises (...) of the Christian and non-Christian alike."--Back cover. (shrink)

Aesthetic theories, like theories of morals, are roughly divisible into those that maintain an analytic neutrality and those that attempt to arrive at “first-order”, practical judgments. A philo sopher of language may confine the legitimate task of aesthetics to the clarification of talk about works of art and about the fashioning of works of art. But other aestheticians, perhaps a more numerous group, see their study as far more intimately related to art criticism, and as able, without the committing of (...) naturalistic or any other fallacies, to reach particular aesthetic value-judgments. Between these extreme positions lies a great diversity of theories which, while clearly differentiating aesthetics from art criticism, still carry practical implications of a general kind. The conceptual scaffolding into which they fit the art-forms, their notion of what is central to aesthetic experience and what peripheral, their account of artistic creativity-all these can be indirectly evaluative, can subtly influence and alter one's responses to actual aesthetic objects. (shrink)