The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what (...) I mean by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)
Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent (...) scholars, and especially commissioned for the volume. Lively debate format sharply defines the issues, and paves the way for further discussion. Will serve as an accessible introduction to the major topics in aesthetics, while also capturing the imagination of professional philosophers. (shrink)
This paper attempts to elucidate Wittgenstein’s remark about the “strange resemblance between a philosophical investigation (especially in mathematics) and an aesthetic one” from 1937 by looking at its textual and philosophical context. The conclusion is that the remark can be seen both as a description of a particular conception of philosophy, a prescription or declaration of intent (to proceed in a particular way), and a reminder (to Wittgenstein himself) about the form of a philosophical investigation. Furthermore, it is concluded (...) that the Darstellungsform he has in mind is the one that finds expression especially in the first part of the PI. (shrink)
Why do people respond emotionally to works of fiction they know are make-believe? Boruah tackles this question, which is fundamental aesthetics and literary studies, from a totally new perspective. Bringing together the various answers that have been offered by philosophers from Aristotle to Roger Scruton, he shows that while some philosophers have denied any rational basis to our emotional responses to fiction, others have argued that the emotions evoked by fiction are not real emotions at all. In response to (...) this, Boruah contends that fictional emotions are rational because they are based on the same sorts of beliefs that we form about real situations and real people. He illustrates this argument with literary examples ranging from Shakespeare to Tolstoy. (shrink)
Noise permeates our highly mediated and globalised cultures. Noise as art, music, cultural or digital practice is a way of intervening so that it can be harnessed for an aesthetic expression not caught within mainstream styles or distribution. This wide-ranging book examines the concept and practices of noise, treating noise not merely as a sonic phenomenon but as an essential component of all communication and information systems. The book opens with ideas of what noise is, and then works through ideas (...) of how noise works in contemporary media, to conclude by showing potentials within noise for a continuing cultural renovation through experimentation. Considered in this way, noise is seen as an essential yet excluded element of contemporary culture that demands a rigorous engagement. Reverberations brings together a range of perspectives, case studies, critiques and suggestions as to how noise can mobilize thought and cultural activity through a heightening of critical creativity.Written by a strong, international line-up of scholars and artists, Reverberations looks to energize this field of study and initiate debates for years to come. (shrink)
This volume explores the relationship between Kant's aesthetic theory and his critical epistemology as articulated in the Critique of Pure Reason and the Critique of the Power of Judgment. The essays, written specially for this volume, revise our understanding of core elements of Kant's epistemology, such as his notions of discursive understanding, experience, and objective judgment. They also demonstrate a rich grasp of Kant's critical epistemology that enables a deeper understanding of his aesthetics. Collectively, the essays reveal that Kant's (...) critical project, and the dialectics of aesthetics and cognition within it, is still relevant to contemporary debates in epistemology, philosophy of mind, and the nature of experience and objectivity. The book also yields important lessons about the ineliminable, yet problematic place of imagination, sensibility and aesthetic experience in perception and cognition. (shrink)
Most books on aesthetics tend to be either too theoretical for the arts or not theoretical enough for philosophy. This book strikes a new and better balance between these competing interests. By taking a normative question--why should we value the arts?--it manages to develop a genuinely philosophical understanding of art and its value while never losing sight of the poems, pictures and music which draw and sustain interest in the arts. In this new second edition, chapters have been (...) revised to include new material and also an added chapter about the subjectivity of aesthetic judgement, the importance of the artist's intention and the possibility of an aesthetic appreciation of nature. The book concludes with a critical survey of art theories and introduces some complex issues surrounding disputes between Marxism, structuralism and postmodernism. (shrink)
Part 1. Expression in Merleau-Ponty's aesthetics -- 1. Primordial perception and artistic expression: Merleau-Ponty and Cezanne -- 2. Expression, institution, and the field: a searching itinerary -- 3. Painterly and phenomenological interrogation in "Eye and mind" -- Part 2. Expression in animal life -- 4. The expressivity of animal behavior: embryogenesis and environing worlds -- 5. The expressivity of animal appearance and of directive and instinctual activities -- Part 3. Expression in Merleau-Ponty's ontology -- 6. The role of expression (...) in Merleau-Ponty's dialogue with the rationalists -- 7. The irreducibility of expression: Merleau-Ponty's ontology and its wider implications -- Concluding thoughts. (shrink)
Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides (...) her work into two parts: In the first, she summarizes the major theories defining art and beauty; in the second, she explores the nature of aesthetic evaluation and appreciation. As Sheppard explains, there are three main approaches to defining art, all focused on what art objects share. One proposes that all art imitates something in life, another that it expresses something (such as anger or ecstasy), still another suggests that all art has formal qualities. There is also a fourth which offers that all art shares the quality of beauty. In the second part, which concentrates on literary art, Sheppard explores such philosophic topics as critical judgment, meaning and truth in literature, and the relationship between art and morals. She raises such questions as whether there is one correct interpretation of a work of art and whether art has a moral effect on its audience and, citing specific examples, explores the views that have been put forth. A wide-ranging, intriguing book, which assumes no formal knowledge on the part of its readers, Aesthetics opens the door to a greater understanding and appreciation of art. (shrink)
The aim of this article is to explore historically the origin of the difficulty of founding the reflecting power of judgment as Kant outlines it in the Preface to the third Critique. Despite that a foundation of the power of judging in the system of Transcendental Philosophy was only established in 1790, we must interpret it as a critical solution for an old problem, which Kant had already recognized around 1770. Through his comprehension of the meaning of healthy understanding (...) he already confirms the impossibility of determining the correctness of our judging activity from the use of rules. This insight of the problem must be understood in the context of the controversy about the relation between logica naturalis and logica artificialis as it occurs in the Leibniz-Wolffian aesthetics and logic. Although Kant had not yet developed the transcendental critique of taste around 1770, he already elucidates the problematic of judging through the model of taste and in close conjunction with this tradition. (shrink)
These books will prove valuable to philosophy teachers and their students as well as to other readers who share a general interest in philosophy. -/- What is art? Must art be beautiful? Must art be politically or culturally significant? How does art differ from other products of human activity? Joseph Margolis has spent decades thinking through these and related questions. In this book, he introduces his reader to the field of Aesthetics by thinking through the most fundamental (...) philosophical questions about art in a way that is engaging and accessible. This book could be used alongside a textbook of classic readings in Aesthetics, or as a stand-alone text in Aesthetics. THE WADSWORTH PHILOSOPHICAL TOPICS SERIES presents readers with concise, timely, and insightful introductions to a variety of traditional and contemporary philosophical subjects. With this series, students of philosophy will be able to discover the richness of philosophical inquiry across a wide array of concepts, including hallmark philosophical themes and themes typically underrepresented in mainstream philosophy publishing. Written by a distinguished list of scholars who have garnered particular recognition for their excellence in teaching, this series presents the vast sweep of today's philosophical exploration in highly accessible and affordable volumes. These books will prove valuable to philosophy teachers and their students as well as to other readers who share a general interest in philosophy. (shrink)
Introduction: the literary function -- Being constructivist -- Rethinking the performative in pragmatics -- The literary function and the cartographic turn: performative philosophy -- The literary function and society, I: affirmation of immanent aesthetics -- The literary function and society, II: community and subjectification -- The reader and the event of fiction -- Conclusion: degrees of freedom.
Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression. This title available in eBook format. Click here for more information . Visit our eBookstore at: www.ebookstore.tandf.co.uk.
Several prominent philosophers of science, most notably Ron Giere, propose that scientific theories are collections of models and that models represent the objects of scientific study. Some, including Giere, argue that models represent in the same way that pictures represent. Aestheticians have brought the picturing relation under intense scrutiny and presented important arguments against the tenability of particular accounts of picturing. Many of these arguments from aesthetics can be used against accounts of representation in philosophy of science. I (...) rely on Dominic Lopes’ recent summary of arguments against various views of picturing and reformulate some of them to fit the philosophy of science context. My specific targets here are Giere and Steven French. I go on to argue that assuming all scientific models and images represent in the same way is not the best guide to understanding scientific practice. (shrink)
This essay reconstructs Schelling's philosophical development during the years 1794-1800. It emphasizes the role of Kant's heritage within Schelling's early philosophy, and the strong relationship between Schelling and Hölderlin during their Tübingen years. The central question it explores is how the Absolute relates to Finiteness - a relation that constitutes the basis of transcendental idealism as well as the essence of a transcendental philosophy, here radically understood as a philosophy of finitude and as a critical aesthetics. (...) The essay shows the young Schelling as he presents a rich and novel field of inquiry, which provides a credible and engaging alternative to Hegelian thinking and anticipates themes from twentieth-century philosophy (Phenomenology, Existentialism, Critical Thinking). The volume thus provides both a historical and a contemporary look at Schelling's early philosophy, and at its original and speculative approach. (shrink)
Alfred North Whitehead published no book or article strictly on aesthetics. Nonetheless, in his philosophical writings he mentions several times that aesthetic experience is the key to his metaphysics. In fundamental places of his philosophical system, moreover, he uses expressions like ‘aesthetic experience’, ‘aesthetic fact’, ‘aesthetic unity’, and ‘aesthetic order’. These expressions do not, however, refer to human conscious experience alone, but to all entities of the universe. That has led some scholars to the conviction that these terms are (...) used in a purely technical sense and therefore do not refer to the sphere of aesthetics. The author of the current article seeks to demonstrate that these terms do refer to the sphere of aesthetics. The argument set out here consists in three steps. In the first, the author presents Whitehead’s philosophical method of imaginative generalization. In the second step, the author presents the fundamental ontological unit (the actual occasion) of Whitehead’s philosophy, and points out that Whitehead describes it using aesthetic terms that are employed in a broad sense. In the third step the author presents Whitehead’s view of aesthetic understanding. At the end of the article, it is demonstrated that although Whitehead did not develop his analysis of aesthetic understanding into a consistent theory, it forms the background to all his metaphysical books. (shrink)
We argue that environmental aesthetics, and specifically the concept of aesthetic integrity, should play a central role in a public environmental philosophy designed to communicate about environmental problems in an effective manner. After developing the concept of the ?aesthetic integrity? of the environment, we appeal to empirical research to show that it contributes significantly to people?s sense of place, which is, in turn, central to their well-being and motivational state. As a result, appealing to aesthetic integrity in policy (...) contexts is both strategically and morally advisable. To provide a concrete illustration of the ways in which such appeals can play a role in policy making, we examine a specific case study in which attention to aesthetic integrity contributed to blocking a proposed development. The case yields at least four lessons: (1) aesthetic integrity can be a practically effective framing device; (2) local deliberative settings are particularly conducive for addressing it; (3) it can serve as an umbrella under which multiple other issues can be brought to the fore; and (4) judgments about aesthetic integrity need not be entirely objective in order for them to play a productive role in the policy sphere. (shrink)
The contributions to this volume provide a thorough introduction to the major topics in contemporary aesthetics and the philosophy of art, in the distinctive format of philosophers engaging in head-to-head debate at a level accessible to ...
General rules and "of the standard of taste" -- Aesthetic beauty and moral beauty -- Antinomy and error -- Reflection and character -- Beauty and moral life -- Progress and prejudice -- Philosophy and moral life.
Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a (...) strong collection on the imagination in philosophy, particularly in relation to literature and the visual arts. The book falls in three parts: emotional imagination, fiction-making imagination and sensory imagination. The volume opens up several new frontiers that will attract substantial interest in philosophers of art, as well as philosophers working on mental representation, emotion theory, perception and fiction. These papers make a large contribution to developing our understanding of 'imagination' in new directions and setting the research agenda for the next decade. (shrink)
Philosophy of Art is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It aims to introduce the techniques of analytic philosophy in addition to a selection of the major topics in this field of inquiry. These include the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art, as well as historical approaches to the nature of art. Throughout the book, abstract philosophical theories are illustrated by examples (...) of both traditional and contemporary art, thereby enriching the readers understanding of art theory as well as the appreciation of art. (shrink)
In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and (...) analyzing the logical boundaries and ontological structures of the aesthetic domain. He then considers key concepts from this analysis in the light of a tradition in Continental philosophy (notably the work of Kant, Heidegger, Merleau-Ponty, and Hegel) which--by virtue of the philosophical significance that it assigns to art--significantly anticipates the ecological conception. On this basis, Crowther is able to give a full formulation of his ecological definition. Art, in making sensible or imaginative material into symbolic form, harmonizes and conserves what is unique and what is general in human experience. The aesthetic domain answers basic needs intrinsic to self-consciousness itself, and art is the highest realization of such needs. In the creation and reception of art the embodied subject is fully at home with his or her environment. (shrink)
Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions (...) and ideas. (shrink)
Leading young scholars present a collection of wide-ranging essays covering central problems in meta-aesthetics and aesthetic issues in the philosophy of mind, as well as offering analyses of key aesthetic concepts, new perspectives on the history of aesthetics, and specialized treatment of individual art forms.
This book proposes that aesthetics begin not with concepts of being or semblance, but with a concept of appearing. Appearing bespeaks of the reality that all aesthetic objects share, however different they may otherwise be. For Martin Seel, appearing plays its part everywhere in the aesthetic realm, in all aesthetic activity. In his book, Seel examines the existential and cultural meaning of aesthetic experience. In doing so, he brings aesthetics and philosophy of art together again, which in (...) continental as well as analytical thinking have been more and more separated in the recent decades. Within Seel’s framework, to apprehend things and events with respect to how they appear momentarily and simultaneously to our senses represents a genuine way for human beings to encounter the world. The consciousness that emerges here is an anthropologically central faculty. In perceiving the unfathomable particularity of a sensuously given we gain insight into the indeterminable of our lives. Attentiveness to what is appearing is therefore at the same time attentiveness to ourselves. This is also the case when works of art imagine past or future, probable or improbable presences. Artworks develop their transgressive energy from their presence as sense-catching forms. They bring about a special presence in which a presentation of close or distant presences comes about. (shrink)
Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of (...) these subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)
The Continental Aesthetics Reader is the first comprehensive anthology of classic writings on art and aesthetics from the major figures in Continental thought. The Reader is divided into six sections, each clearly placed in its historical and philosophical context: Nineteenth Century German Aesthetics, Phenomenology and Hermeneutics, Marxism and Critical Theory, Poststructuralism and Postmodernism, and Psychoanalysis and Feminism. The collection features the most widely read and representative writings of each movement by 34 major thinkers: Kant * Sartre * (...) Benjamin * Lyotard * Hegel * Levinas * Blanchot * Deleuze * Nietzsche * Marx * Bloch * Freud * Heidegger * Lukacs * Bataille * Lacan * Dufrenne * Adorno * Foucault * Kristeva * Bachelard * Marcuse * Barthes * Irigaray * Merleau-Ponty * Habermas * Derrida * Cixous * Gadamer * Jameson * de Man * Vattimo * Simmel * Baudrillard Bringing together some of the most influential writings on aesthetics, continental philosophy, art and visual studies, The Continental Aesthetics Reader provides a thorough and much-needed introduction to the field. (shrink)
Abstract It is argued that the scattered remarks on the fine arts made in Reid's Inquiry into the Human Mind (1764) present a conception of the relation between perception and the fine arts that is at once compatible with and different from Reid's mature theory of art in Of Taste (1785). This alternative account of art-relevant perception also points beyond the limits of a philosophy of art developed according to the traditional theory of taste dominant in 18th-century Scottish aesthetic (...) thought, and anticipates certain 20th-century theories. (shrink)
This collection of essays explores the rise of aesthetics as a response to, and as a part of, the reshaping of the arts in modern society. The theories of art developed under the name of 'aesthetics' in the eighteenth century have traditionally been understood as contributions to a field of study in existence since the time of Plato. If art is a practice to be found in all human societies, then the philosophy of art is the search (...) for universal features of that practice, which can be stated in definitions of art and beauty. However, art as we know it - the system of 'fine arts' - is largely peculiar to modern society. Aesthetics, far from being a perennial discipline, emerged in an effort both to understand and to shape this new social practice. These essays share the conviction that aesthetic ideas can be fully understood when seen not only in relation to intellectual and social contexts, but as themselves constructed in history. (shrink)
Introduction -- Biographical details -- The nature of the philosophic enterprise: initial issues -- Contemporary scholarship on (African) arts -- Artistic expression in Africa -- Philosophy and artistic expression in Africa -- Arts, memory and identity -- Conclusion.
This book presents a timely reconfiguration of the relations between art, philosophy, ethics, and aesthetics. Through connection with a range of contemporary social and philosophical issues and movements, this collection of essays highlights the imperative of sensorial aesthetics. The book focuses on the radical philosophical approach to aesthetics enabled by the works of Jean-François Lyotard and Gilles Deleuze. From these philosophers an older meaning of aesthetic has been recalled. Before it indicated primarily the theory of art (...) and beauty, “aesthetic” referred to the sensibility, the capacity to receive sensations. In summoning this “sensorial” meaning of aesthetics in their respective works, Lyotard, Deleuze, and other recent thinkers turn the philosophical theory of aesthetics away from the dominance of cognitivist and reception theories, and towards a thinking of aesthetics through considerations of the movements of matter, affect, and sensation. (shrink)
After being largely unknown to non-siniphone philosophers, Li Zehou's ideas are gradually being translated into English, but very little has been done on his aesthetics, which he says is the key to his oeuvre. In the first of three sections of this paper, I briefly introduce the reader to Kant's aesthetics through Li's eyes, in which he develops an implicit notion of aesthetic freedom as political vehicle through the notions of subjectivity, universalization, and the unity of the cognitive (...) faculties. In the second section, I introduce Marx's notions of 'human nature as practice' and 'freedom as practice', as outlined in his early manuscripts. I conclude that Marx's politics take free practice as the highest expression of humanity, which is finally, ideally, self-legislating. In the final section, I present Li's interpretation of Marx as a remedy for Kant, introducing some of Li's specialized vocabulary and demonstrating his final synthesis of Kant and Marx in a notion of aesthetic freedom that presupposes political freedom. (shrink)
Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements (...) in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art. (shrink)
A challenger of traditions and boundaries A pivotal figure in 20th-century philosophy, Nelson Goodman has made seminal contributions to metaphysics, epistemology, aesthetics, and the philosophy of language, with surprising connections that cut across traditional boundaries. In the early 1950s, Goodman, Quine, and White published a series of papers that threatened to torpedo fundamental assumptions of traditional philosophy. They advocated repudiating analyticity, necessity, and prior assumptions. Some philosophers, realizing the seismic effects repudiation would cause, argued that (...) class='Hi'>philosophy should retain the familiar framework. Others considered the arguments compelling, but despaired of doing philosophy without the framework. Goodman disagreed with both factions. Rather than regretting the loss of structure, he capitalized on the opportunities that arise when the strictures of tradition are loosened. (shrink)
Thinking through the body: educating for the humanities -- The body as background -- Self-knowledge and its discontents: from Socrates to somaesthetics -- Muscle memory and the somaesthetic pathologies of everyday life -- Somaesthetics in the philosophy classroom: a practical approach -- Somaesthetics and the limits of aesthetics -- Somaesthetics and Burke's sublime -- Pragmatism and cultural politics: from textualism to somaesthetics -- Body consciousness and performance -- Somaesthetics and architecture: a critical option -- Photography as performative process (...) -- Asian ars erotica and the question of sexual aesthetics -- Philosophy as awakened life : everyday aesthetics of embodiment in American transcendentalism and Japanese Zen practice -- Somatic style. (shrink)
This original new book argues for a reassessment of Plato's challenge to the arts. Plato was the first great figure in Western philosophy to assess the value of the arts; he argued in the Republic that traditionally accepted forms of poetry, drama, and music are unsound. While this view has been widely rejected, Janaway argues that Plato's hostile case is a more coherent and profound challenge to the arts than has sometimes been supposed. Denying that Plato advocates "good art" (...) in any modern sense, Janaway seeks both to understand Plato's critique in the context of his own philosophy and to locate him in today's philosophy of art, showing how issues in aesthetics arise from responses to his charges. (shrink)
This volume provides the first ever extensive translation of the notes and fragments that survived Kant's death in 1804. These include marginalia, lecture notes, and sketches and drafts for his published works. They are important as an indispensable resource for understanding Kant's intellectual development and published works, casting new light on Kant's conception of his own philosophical methods and his relations to his predecessors, as well as on central doctrines of his work such as the theory of space, time and (...) categories, the refutations of skepticism and metaphysical dogmatism, the theory of the value of freedom and the possibility of free will, the conception of God, the theory of beauty, and much more. (shrink)
Referred to as the "bible of American lawyers," Blackstone's Commentaries on the Laws of England shaped the principles of law in both England and America when its first volume appeared in 1765. For the next century that law remained what Blackstone made of it. Daniel J. Boorstin examines why Commentaries became the most essential knowledge that any lawyer needed to acquire. Set against the intellectual values of the eighteenth century-and the notions of Reason, Nature, and the Sublime-- Commentaries is at (...) last fitted into its social setting. Boorstin has provided a concise intellectual history of the time, illustrating all the elegance, social values, and internal contradictions of the Age of Reason. (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 (...) class='Hi'>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)
A ideia de beleza - e sua consequente fruição estética - variou conforme as transformações das sociedades humanas, no tempo. Durante a Idade Média, coexistiram diversas concepções de qual era o papel do corpo na hierarquia dos valores estéticos, tanto na Filosofia quanto na Arte. Nossa proposta é apresentar a estética do corpo medieval que alguns filósofos desenvolveram em seus tratados (particularmente Isidoro de Sevilha, Hildegarda de Bingen, João de Salisbury, Bernardo de Claraval e Tomás de Aquino), além de algumas (...) representações corporais nas imagens medievais (iluminuras e esculturas), e assim analisar o tema em três vertentes: a) o corpo como cárcere da alma, b) o corpo como instrumento, e c) o corpo como desregramento. The concept of beauty, and its consequent aesthetic enjoyment, has varied according the transformations of human societies over time. During the Middle Ages there were different conceptions, in both philosophy and art, of what the role of the body is in the hierarchy of aesthetic values. Our purpose is to present the aesthetic of the body that some medieval philosophers developed in their treatises (especially Isidore of Seville, Hildegard of Bingen, John of Salisbury, Bernard of Clairvaux and Thomas Aquinas), as well as some bodily representations of medieval images (illuminations and sculptures). We thus examine the issue in three ways: a) the body as a prison of the soul, b) the body as an instrument, and c) the body as degradation. (shrink)
This four volume set brings together both classic and contemporary writings to provide a comprehensive collection of the most important essays on the subject. All of the various artistic genres are addressed, with sections on film, dance and architecture as well as music, literature and the visual arts. With a new introduction by the editor to guide the reader through the volumes, this major new work will provide student and researcher alike with key writings on aesthetics in one convenient, (...) unique resource. (shrink)
This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture in (...) philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (shrink)
While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations and (...) unasked questions. This essay addresses the paucity of work in feminist philosophy and popular music by (1) applying insights from other areas of feminist aesthetics (the role of gender in the art/craft distinction, concepts of genius and creativity, notions of active spectatorship, etc.) to questions of popular music, and (2) thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)
The belief that the mind and the body are separate and that the mind is the source of all meaning has been a part of Western culture for centuries. Both philosophers and scientists have questioned this dualism, but their efforts have rarely converged. Many philosophers continue to rely on disembodied models of human thought, while scientists tend to reduce the complex process of thinking to a merely physical phenomenon. In The Meaning of the Body , Mark Johnson continues his pioneering (...) work on the exciting connections between cognitive science, language, and meaning first begun in the classic Metaphors We Live By . Johnson uses recent research into infant psychology to show how the body generates meaning even before self-consciousness has fully developed. From there he turns to cognitive neuroscience to further explore the bodily origins of meaning, thought, and language and examines the many dimensions of meaning—including images, qualities, emotions, and metaphors—that are all rooted in the body’s physical encounters with the world. Drawing on the psychology of art and pragmatist philosophy, Johnson argues that all of these aspects of meaning-making are fundamentally aesthetic. Thus the arts are the culmination of human attempts to find meaning and studying the aesthetic dimensions of our experience is crucial to unlocking the bodily sources of meaning. Brilliantly synthesizing a broad range of scientific research and philosophical inquiry in clear and original writing, Mark Johnson’s The Meaning of the Body puts forth a bold new conception of the mind rooted in the understanding that philosophy will matter to nonphilosophers only if it is built on a visceral connection to the world. (shrink)
In the opening chapter of this book, Timothy Costelloe develops an interpretation of Hume's doctrines in "Of the Standard of Taste" and then proceeds, in the second chapter, by extending (or "applying," in Costelloe's words) that interpretation to Hume's moral philosophy. According to Costelloe, the "real value" of his attempt to clarify Hume's essay is to be found in the broader application (22). But since that value will not be real unless the interpretation of the essay has merit, the (...) first chapter is clearly vital to the enterprise, and so deserves particular attention.Costelloe sides with those who emphasize, on Hume's behalf, the rules of art rather than the joint verdict of true judges, and he wants to .. (shrink)
Jean-François Lyotard, the highly influential twentieth-century philosopher of the postmodern, has had an enormous impact on the course and commitment of contemporary philosophy. Lyotard: Philosophy, Politics, and the Sublime is a thoroughgoing reassessment of his extraordinary legacy and contribution to contemporary cultural, political, ethical, and aesthetic theory, and an indispenable guide to key issues in his philosophy. Fifteen distinguished scholars have contributed new, original essays examining the main themes in Lyotard's work with a focus on the special (...) intersections of philosophy, psychoanalysis, politics, and the experience of the sublime in art. The volume includes an up-to-date bibliography of works by and about Lyotard, previously unpublished photographs of Lyotard, and an incisive essay by Lyotard himself on the philosophical significance of Freud's case of Emma. (shrink)
This essay argues that nano-images would be best understood with an aesthetical approach rather than with an epistemological critique. For this aim, I propose a ‘techno-aesthetical’ approach: an enquiry into the way instruments and machines transform the logic of the sensible itself and not just the way by which it represents something else. Unlike critical epistemology, which remains self-evidently grounded on a representationalist philosophy, the approach developed here presents the advantage of providing a clear-cut distinction between image-as-representation and other (...) modes of existence of images, such as the one of ‘ imaginaction ’ that I draw from a comparison between far-field and near-field microscopies. Once this regime of imaginaction is distinguished from representation, I focus on nanotechnological percepts and argue that they follow a transmodal logic. I then draw the implications of this enquiry in terms of a new sensible condition that changes the way we think of non-living objects. Finally, I conclude that if techno-aesthetics dares to posit and articulate sensibility beyond the privileged sphere of subject/object relationships, it simultaneously engages us to consider the political character of our responsibilities towards the design of nano-engineered sensorial spaces. (shrink)
Nietzsche's New Seas makes available for the first time in English a representative sample of the best recent Nietzsche scholarship from Germany, France, and the United States. Michael Allen Gillespie and Tracy B. Strong have brought together scholars from a variety of disciplines--philosophy, history, literary criticism, and musicology--and from schools of thought that differ both methodologically and ideologically. The contributors--Karsten Harries, Robert Pippin, Eugen Fink, Hans-Georg Gadamer, Kurt Paul Janz, Sarah Kofman, Jean-Michel Rey, and the editors themselves--take a new (...) approach to Nietzsche, one that begins with the claim that his enigmatic utterances can best be understood by examining the style or structure of his thought. (shrink)