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)

Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...) should correspond, but they fail to recognize sensation as a site where the ecological cause can be fought. Jacques Rancière argues for the political force of the senses, but his distribution of the sensible does not address the particularity of sensory experience. I identify the difference between these approaches within recent relational or ecological aesthetics and my position on sensibility, and indicate some of the problems involved in referring to the senses. I set out the concepts that are central to the cultivation of relational sensibility: style, autofiguration, and the mobility of sensory meaning, extrapolated from Maurice Merleau-Ponty’s discussion of Paul Cézanne. They amount to positioning the senses ontologically as movements along lines of conceptual-sensory connection and implication, based on the transfer of meanings created artistically through style and autofiguration. (shrink)

This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the phenomenological tradition and the philosophy (...) of perception can fruitfully be applied to the same terrain, and an account of aesthetic experience is built up that stresses embodied, differential and virtual aspects in the perception of aesthetic objects. The disruption and/or enhancement of these aisthetic aspects of perception, coupled with the self-conscious reflection thereby occasioned, is put forward as an account of aesthetic experience that links Ankersmit’s ideas with those of others, and a critical reading is made of a section of Ankersmit’s Sublime Historical Experience that centers on his experience of a painting by Francesco Guardi. The fijinal section aims at strengthening aspects of Ankersmit’s ideas and renews his critique of the radical constructivism of Oakeshott. (shrink)

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distinctions between collective production and collective authorship.

When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...) the many colourful syntheses done by Viennese painter Ingo Nussbaumer exemplify even greater beauty. Here are some criteria (which, of course, do not implement a decision procedure concerning beauty in experiments): cleanliness, simplicity, intellectual clarity, symmetry. Similar criteria are relevant to our aesthetical judgements about some pieces of music. So we can assume that our notion of beauty conserning art is related to the one conserning scientific experiments. (shrink)

Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to the general (...) problem—the context of appreciation is not robust enough to ground modal intuitions about objective entities. In general, when epistemology dictates ontology there is always a threat of anti-realism, scepticism and relativism. Davies also appeals to the modality principle—an entity’s essential properties are all and only its constitutive properties. Davies understands essentiality in a traditional way: a property P is an essential property of an object o iff o could not exist and lack P. Kit Fine has recently made a convincing case for the view that the notion of essence is not to be understood in modal terms. I explore some of the implications of this view for Davies’ modal argument for the performance theory. (shrink)

The concept of ‘living metaphor’ receives a number of articulations within metaphor theory. A review of four key theories – Nietzsche, Ricoeur, Lakoff and Johnson, and Derrida – reveals a distinction between theories which identify a prior, speculative nature working on or with metaphor, and theories wherein metaphor is shown to be performatively always, already active in thought. The two cannot be left as alternatives because they exhibit opposing theses with regard to the ontology of metaphor, but neither can an (...) impartial philosophical appraisal of the most cogent or defensible theory be made, since the status and conduct of philosophy are part of the problem. Two responses to the predicament from within ‘living metaphor’ theory are considered: (1) Lakoff and Johnson’s ecological spirituality thesis which promises to make the contest redundant on the grounds that the origin of human concepts in our shared, embodied condition in the world removes all obstructions; (2) taking the lead from Nietzsche and Ricoeur, an approach based on the intersection of discourses, not as a resolution but as a gesture which allows the conflict to speak about ‘living metaphor’. (1) is shown to be unsuccessful, but (2) results in ‘living metaphor’ emerging as an attentiveness to questions of what does and does not belong, inspired by tensions between ‘is’ and ‘is not’, ‘from this perspective’ and ‘from that perspective’, and ‘is spoken about’ and ‘is spoken with’. (shrink)

"The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...) the contentiousness of deploying kitsch as a term in these debates. The buzzing activity of the internet provides much of the raw material for his arguments. Through his close reading of both the works themselves and the public response to them, Emmer once more focuses attention on the competing and overlapping attitudes towards kitsch and the way in which it and its semantic cousins remain a viable and valuable resource with which to police the borders that surround the artworld. Ultimately, his contribution further grounds a wider premise operative in this collection--namely, that a simple and rigid dichotomy of kitsch and (high) art does not and indeed cannot capture the elusive and mercurial nature of kitsch." --from the editor's introduction. (shrink)

The main claim of Hegel´s System is that in its inner structure reality is consubstantial with subjective reason, so that, in spite of all its eventual contradictions, reality can be understood by the human mind. However, the process of knowledge of the rationality of reality is at the same time the process of self-knowledge of the rationality that defines as such the human mind. In this general process of knowledge-self-knowledge, the different artistic forms and the different periods of the History (...) of Art have, according to Hegel, a precise function. The main objective of this article is, in the first place, to clarify the function that, according to Hegel, Art has in the process of self-knowledge of human rationality, and, secondly, to analyze in that context the logic of the sublation of Art in the discursive element of language. (shrink)

Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...) of neustic uncertainty, that is, uncertainty concerning the kind of relationship we, the users, have to the propositional content mediated. I suggest that this puzzle calls upon us to consider what would be a viable logic of virtual discovery. (shrink)

This paper is an elaborate response to Stanely Cavell's suggestion that Schoenberg's idea of the 12-tone row is a serviceable image of Wittgenstein's idea of grammar. I argue that this suggestion underplays what must be a major premise in any argument for yoking Wittgenstein and Schoenberg: Wittgenstein's philosophically entrenched rejection of modern music. I consider this omission in the context of Wittgenstein's idiosyncratic emulation of Schenker's theory of music in order to facilitate a direct comparison between Wittgenstein's and Schoenberg's sharply (...) contrasted visions of the music of the future. I conclude that Cavell's suggestion is ultimately misleading. (shrink)

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...) are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

The status of the body figures paradoxically in the interrelated discourses of whiteness, aesthetic taste, and hipness. While Richard Dyer’s analysis of whiteness argues that white identity is “in but not of the body,” Carolyn Korsmeyer’s and Julia Kristeva’s feminist analyses of aesthetic “taste” demonstrate that this faculty is traditionally conceived as something “of” but not “in” the body. While taste directly distances whiteness from embodiment, hipness negatively affirms this same distance: the hipster proves his elite status within white culture (...) by positioning himself as, in the words of James Chance’s song title, “Almost Black.” The notion of hip contributes to my analysis of taste by focusing on both the gender politics of white embodiment, and how, by taking the social body as object of the prepositions “in” and “of,” these discourses of taste and hipness produce individual bodies as white, and maintain Whiteness as a socio-political norm. (shrink)

Through the framework of Merleau-Ponty's aesthetics, the author explores fundamental themes of the retrieval of the beautiful--desire, repetition, difference, rhythm and the sublime--drawing also from the works of Paul Czanne, August Rodin ...

Both Kuhn and Cavell acknowledge their indebtedness to each other in their respective books of the 60s. Cavell in (Must We Mean What We Say (1969)) and Kuhn in (The Structure of Scientific Revolutions 1962). They were together at Berkeley where they had both moved in 1956 as assistant professors after their first encounter at the Society of Fellows at Harvard (Kuhn 2000d, p. 197). In Berkeley, Cavell and Kuhn discovered a mutual understanding and an intellectual affinity. They had regular (...) conversations which Cavell describes as "extremely important" (Conant 1989, p. 40; cf. Cavell 1979, p. xix). Cavell says that he felt he wanted to assure Kuhn that "philosophy did not have standing answers to the questions [Kuhn] .. (shrink)

Does the ethical value of a work of art ever contribute to its aesthetic value? I argue that when conventionally interpreted as a request for a conceptual analysis the answer to this question is indeterminate. I then propose a different interpretation of the question on which it is understood as a substantial and normative question internal to the practice of aesthetic criticism.

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through the engagement (...) of our emotions. Literature does this, I claim, by its uniquely perspicuous presentations of emotional concepts, and the cognitive pleasure that such 'presentations' prompt in us. (shrink)

When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...) the many colourful syntheses done by Viennese painter Ingo Nussbaumer exemplify even greater beauty. Here are some criteria (which, of course, do not implement a decision procedure concerning beauty in experiments): cleanliness, simplicity, intellectual clarity, symmetry. Similar criteria are relevant to our aesthetical judgements about some pieces of music. So we can assume that our notion of beauty conserning art is related to the one conserning scientific experiments. (shrink)

This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.

Whilst some philosophical progress has been made on the ethical evaluation of playing video games, the exact subject matter of this enquiry remains surprisingly opaque. ‘Virtual murder’, simulation, representation and more are found in a literature yet to settle into a tested and cohesive terminology. Querying the language of the virtual in particular, I suggest that it is at once inexplicit and laden with presuppositions potentially liable to hinder anyone aiming to construct general philosophical claims about an ethics of gameplay, (...) for whom assumptions about the existence of ‘virtual’ counterparts to morally salient phenomena may prove untrustworthy. Ambiguously straddling the pictorial and the performative aspects of video gaming, the virtual leaves obscure the ways in which we become involved in gameplay, and particularly the natures of our intentions and attitudes whilst grappling with a game; furthermore, it remains unclear how we are to generalise across encounters with the virtual. I conclude by briefly noting one potential avenue of further enquiry into our modes of participation in games: into the differences which a moral examination of playfulness might make to ethical evaluation. (shrink)

I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated responsibility theory , (...) holding that the strongest ethical criticism that can be made of our sense of humor is that it might indicate some omission on our part. This omission could only be culpable in so far as a particular joke could do harm to oneself or others. In response to Ted Cohen’s doubts that such a mechanism of harm is forthcoming, I argue that the primary vehicle of the harmful effects of humor is laughter. (shrink)

I argue that the term "interactive" should be considered a general-purpose term that indicates something about whatever it is applied to, whether that is art, artifact, or nature. I base my definition in the notion of "interacting with" something. First, I look for essential features of this relation, and then using these features, I develop a notion of interactivity that can help distinguish the interactive from non-interactive arts. Although I am skeptical of the benefits interactivity affords, interactive artworks are significant (...) in that they are the first instances of mass art to be truly "concreative." Prior to building a definition of interactivity, I provide a novel reading of Collingwood in order to revive his notion of "concreativity" for contemporary application. In order to develop my theory of interactivity as mutual responsiveness, I analyze four problematic definitions of interactivity: (1) the control theory, (2) the making use theory, (3) the input/output theory, (4) Dominic McIver Lopes' modifiable structure theory, and (5) Janet Murray's procedural/participatory theory. In each case, I reveal a problem that my final notion solves. After presenting a definition of interactivity, I defend the viability of my theory against skeptical remarks that interactivity is a useless concept. To highlight the significance of my analysis, I analyze an argument against the value of concreative art—that interactivity is incompatible with narrative immersion. (shrink)

This "open letter" examines Agnes Heller's seemingly ambivilent position on feminism, as well as her pedegogy, her reading of Plato, her "ethics of personality," and her positions on critique and on "everyday life.".

Good stories tend to get told and retold, over and over again, mutating in the process. They adapt to different times and places, taking on and sloughing off embellishments as they are handed on. They persist through a kind of evolution. This is how it has always been and how it must be. Tales cannot survive otherwise. But this does not mean that all mutations are equally acceptable. For critical discussion is part of the environment in which stories survive. So (...) it is not misplaced to criticise a retelling for its divergence from the original. (shrink)