Ground s’enfronta al xoc de l’art contemporani plantejant, a manera de reflexió filosòfica, aquelles preguntes «grolleres» que semblaven confinades en la resposta de l’home del carrer o del crític reaccionari: no és una xorrada aquesta pila de rajoles al museu? No obstant això, la seua intenció no és fer-nos prendre partit a favor o en contra de determinades obres d’art del Minimal o del Conceptual. El que batega al fons del llibre de Ground és una defensa de l’art contemporani quan (...) reivindica la seua intel·ligibilitat com un tret centralment constitutiu d’aquest. Una defensa que passa, necessàriament, per mantenir en peus la vigència de la pregunta que dóna títol al llibre, a pesar dels intents recents per anul·lar-la o per relegar-la a una desautorització ingenuista i/o reaccionària de «tot» l’art contemporani. (shrink)

El text d’Ian Ground la traducció del qual transcrivim a continuació va ser llegit a l’acte de presentación del seu llibre ¿Arte o chorrada? (València, Publicacions de la Universitat de València / Col•lecció Estètica & Crítica, 2008) el dia 9 de juny de 2008 a l’Aula Magna de l’edifici del Carrer La Nau de la Universitat de València, amb la presència, a més d’Ian Ground, de Romà de la Calle (en qualitat de Director de la col•lecció Estètica & Crítica) i (...) de mi mateix, Salvador Rubio (en qualitat de traductor, editor i autor de la introducció del llibre). El text va ser llegit en anglés pel seu autor, alternat, paràgraf per paràgraf, amb la lectura de la traducció castellana. Hem preferit que el text traduit aparega ací en castellà, exactament igual al que va ser llegit a l’esmentat acte de presentació. La reflexió que ens proposa Ian Ground, en cara que específicament concebuda per a aquest acte, no necessita cap presentació i pot ser llegida perfectament com un text autònom. Tanmateix, em permet precedir-la amb unes quantes observacions que no pretenen sustituir les meues paraules a l’acte (on, naturalment, els agraïments eren els protagonistes) ni tampoc la introducció del llibre ja publicada, i a la qual es pot remetre directament el lector d’aquest article. (shrink)

Environment and the Arts: Perspectives on Environ- mental Aesthetics. Edited by ARNOLD BERLEANT . Ashgate. 2002. pp. 192. C ONSISTING of twelve chapters, and an extended introduction, this volume provides a leading-edge anthology of reflections on environmental aesthetics.

Many writers describe a sense of requirement in aesthetic experience: some aesthetic objects seem to demand our attention. In this paper, I consider whether this experienced demand could ever constitute a genuine normative requirement, which I call an aesthetic obligation. I explicate the content, form, and satisfaction conditions of these aesthetic obligations, then argue that they would have to be grounded neither in the special weight of some aesthetic considerations, nor in a normative relation we bear to aesthetic objects (...) as such, but in the connections that certain aesthetic considerations have to our practical identities. On the practical identity approach, aesthetic obligation is best understood as a species of promissory obligation, namely self-promising. But this means that the experienced demand can have, at best, the status of a veridical hallucination: although both have the same content, it is the self-promise, and not the experienced demand, that gives rise to the obligation. While aesthetic obligations concern aesthetic objects, they are not obligations to the aesthetic per se. (shrink)

We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having (...) shown that the results do not support the main premise of the argument, we discuss the consequences for Aesthetic Realism and address possible objections to our study. (shrink)

Mark Johnson’s work The Meaning of the Body presents John Dewey’s pragmatism and pragmatist aesthetics as the forerunners of the anti-Cartesian embodied enactive approach to human experience and meaning. He rejects the Kantian noncognitive character of aesthetics and emphasizes that aesthetics is the study of the human capacity to experience the bodily conditions of meaning constitution that grows from our bodily conditions of life. Using Mark Johnson’s view as a starting-point, this paper offers the beginning of an (...) enactive approach to aesthetic preference contributing to bringing human aesthetic behavior research closer to the enactive approach to human experience. Following enactive studies on bodily sense-making and embodied emotions, I identify the bodily conditions of meaning constitution in which aesthetic preference is grounded with the subject’s self-regulatory visceral embodied constitution of viable degrees of value of the environmental factors according to her bodily structure. Unlike mainstream aesthetic preference research in empirical aesthetics, I claim that the subject’s aesthetic preference constitution requires the lived experience of the bodily conditions of meaning constitution through the conscious experience of the subjectively aroused lived body. The implausibility of the mind/body dichotomy of current aesthetic preference research is highlighted. (shrink)

We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having (...) shown that the results do not support the main premise of the argument, we discuss the consequences for Aesthetic Realism and address possible objections to our study. (shrink)

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)

In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as (...) important windows into our mental functioning. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic encounters as well as a wide range of psychological phenomena of general interest. Here, we present this developing research programme, describing its grounds and highlighting its prospects. We start by clarifying how the study of the arts and aesthetics encounters the PP picture of mental functioning (§1). We then go on to outline the prospects of this encounter for the fields involved: philosophy and history of art (§2), psychology of aesthetics and neuroaesthetics (§3) and psychology and neuroscience more generally (§4). The upshot is an ambitious but well-defined framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind. -/- This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’. -/- . (shrink)

This edited collection of original essays explores the irreducible role of aesthetic forms of experience and activity in the philosophies of Walter Benjamin and Theodor W. Adorno.

My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with an artwork are relevant to what aesthetic (...) properties obtain. I provide a description of the main features of both theories of aesthetic properties, and then explain how moral flaws can become aesthetic flaws on either account. I address several objections to moralism about art including the "moralistic fallacy.". (shrink)

At present, the theoretical approaches of Baumgarten and Kant continue to constitute the framework for discussing the nature of aesthetic judgments about art, including the question of what such judgments are really articulating. In distinction to those two eighteenth-century theorists, today we would largely avoid an assumption that aesthetic judgments necessarily attribute beauty to the objects being judged; we would as a rule take a far more complex approach to the topic. But whatever we say about art, even today many (...) theorists wish to ground aesthetic judgments in particularities of the aesthetic object, like Baumgarten, or in specific moments of the aesthetic experience, like Kant. (shrink)

In this Editor’s column I suggest a more modern aesthetics, in order to fill in some of the promise the current Special Issue on The Birth of the Discipline has in store for us. I base my suggestion more on Kant and Aristotle, though.

A well-known Hungarian philosopher, politician, literary and art theorist Georg Lukacs was a notable figure of philosophical thought in XX century. Although he was interested in many problems philosophical-aesthetical matter is the main one in all his works. The problem of human alienation from social forms is outlined in his numerous literary, philosophical, aesthetical works of pre- and post- Marxian periods. The concept of philosophical-aesthetical grounds for overcoming human alienation has been developed in his art from romantic feeling of existential (...) tragedy through the utopian expectancy of “aesthetic ideal” realization to the reliance on being conscious of individual blood nature through dialectic penetration of subjectivity and objectivity in the process of aesthetical perception. Thus he has the unaltered point of view that the art is a particular opposed to alien human nature sphere of being which allows taking away the dual principle of alien forms of human being and its essence. (shrink)

In 1773, the Scottish traveller Patrick Brydone published an account of visiting Mount Etna, in which he drew on three distinct categories of thought: the scientific, the aesthetic, and the cultural. He carried his barometer up the volcano to measure it; he was overwhelmed with awe on viewing the sunrise from its summit; and he carefully set his account in the context of different mythological and philosophical explanations of Etna, largely drawn from the writings of classical authors. In preceding centuries, (...) Thomas Burnet’s Theory of the Earth and Athanasius Kircher’s Mundus Subterraneus viewed mountains as laboratories for better understanding nature, for evoking a sense of eschatological awe, and as embedded in long traditions of cultural appreciation. Earlier still, Pietro Bembo in 1496 recounted his journey to the summit of Etna which wove together personal observation, classical insights, and aesthetic admiration. In an ancient example, the first-century anonymous Aetna poem urged readers to move beyond mythological explanations for volcanic activity and to instead enjoy true aesthetic pleasure in investigating the volcano and its causes for themselves. This article offers a close reading of these texts in order to demonstrate three key points. The first is that an intense aesthetic experience of volcanoes can be found in accounts predating the eighteenth-century articulation of the ‘natural sublime’. The second is that the compulsion to investigate and understand natural phenomena, as a key element of aesthetic appreciation, is also evident before the Enlightenment. Third, the article suggests that a sense of Etna as ‘classic ground’—as a feature which both intensified the viewer’s interest in its natural phenomena and produced an ‘interested’ aesthetic experience of its natural greatness—likewise extends back even to the ancient texts from which later travellers would draw their own cultural associations. (shrink)

The paper begins by asking, in the context of McDowell's Mind and World, what guides empirical judgement. It then critically examines David Bell's account of the role of aesthetic judgement, or experience, in Kant and Wittgenstein, in shedding light on empirical judgement. Bell's suggestion that a Wittgensteinian account of aesthetic experience can guide the application of empirical concepts is criticised: neither the discussion of aesthetic judgement nor aesthetic experience helps underpin empirical judgement. But attention to the parallel between Wittgenstein's discussion (...) of understanding rules and the question of how empirical concepts can be applied to particulars suggests how to dissolve the felt need for an answer. This in turn helps shed light on McDowell's conceptualist account of experience. (shrink)

The paper begins by asking, in the context of McDowell's Mind and World, what guides empirical judgement. It then critically examines David Bell's account of the role of aesthetic judgement, or experience, in Kant and Wittgenstein, in shedding light on empirical judgement. Bell's suggestion that a Wittgensteinian account of aesthetic experience can guide the application of empirical concepts is criticised: neither the discussion of aesthetic judgement nor aesthetic experience helps underpin empirical judgement. But attention to the parallel between Wittgenstein's discussion (...) of understanding rules and the question of how empirical concepts can be applied to particulars suggests how to dissolve the felt need for an answer. This in turn helps shed light on McDowell's conceptualist account of experience. (shrink)

Based on his previous elaborations on semiotic fitting, Kalevi Kull develops a relations-focused theory of beauty in the organic world. I will point to further strands of thought in the Western history of ideas that have introduced the convergence of the aesthetic and organic. The reflections of Immanuel Kant and the early romantics are foundational for these parallels, although not necessarily in concordance with the biocentric and biosemiotic stance of Kull. This comment also raises some questions related to the compatibility (...) of some arguments with the authors who are mentioned as inspirational sources of the theory. In the end, additional authors are suggested as potential associates of biosemiotic aesthetics, authors who might help to broaden the scope of aesthetic phenomena covered by the theory. (shrink)

Declaration of independence became a reference point of a new historical epoch - epoch of free, sovereign development of Uzbekistan. Our country from first days of independent development, under direction of President I.A. Karimov, has headed for refusal of a heritage of a command control system, having started to construction of bases of a democratic legal society with the socially-focused market economy. For achievement of these purposes own model of updating and progress which essential features are the selective approach to (...) experience of the developed countries and the account of specificity and features of centuries-oldevolution of national statehood is involved. In Republic of Uzbekistan process of democratization and modernization of a society became stage-by-stage, with a stress on maintenance of deep understanding of an essence of democracy, in view of sociopolitical traditions and features of national mentality. The heritage of sociopolitical culture of our society has acted original “Means”. By means of which modern values and principles of democracy were brought home to people, their perception and understanding was facilitated. Psychological features of national character, such as tolerance, the aggravated feeling of validity, equality before the law, etc. were especially effectively used. It is known, that the basic directions of democratic transformations and formation of a civil society are defined depending on real needs and opportunities of their realization. We have a precise comprehension of that the major condition of formation of a democratic society is strengthening a role and value in a life of a society of not state and public institutes. In Uzbekistan this process goes by practical realization of the concept “From the strong state - to a strong society”. It is a question of stage-by-stage and gradual reduction of a role of the state structures in the decision of social and economic questions and about transfers of these functions to public organizations. Gradually we go to that participation of the state in economic sphere and a field of activity of managing structures, first of all, a private sector - decreases. In parallel the problem of creation of favorable conditions for realization of publiccontrol on the basis of corresponding motivation - public interests is solved. (shrink)

The collaborative ‹Big Science’ approach prevalent in physics during the mid- and late-20th century is becoming more common in the life sciences. Often computationally mediated, these collaborations challenge researchers’ trust practices. Focusing on the visualisations that are often at the heart of this form of scientific practice, the paper proposes that the aesthetic aspects of these visualisations are themselves a way of securing trust. Kant’s account of aesthetic judgements in the Third Critique is drawn upon in order to show that (...) the image-building capability of imagination, and the sensus communis, both of which are integral parts of aesthetic experience, play an important role in building and sustaining community in these forms of science. Kant’s theory shows that the aesthetic appeal of scientific visualisations is not isolated from two other dimensions of the visualisations: the cognitive-epistemic, aesthetic-stylistic and interpersonal dimensions, and that in virtue of these inter-relationships, visualisations contribute to building up the intersubjectively shared framework of agreement which is basic for trust. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 74-92 [Access article in PDF] John Dewey's Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism Herbert Reid and Betsy Taylor "[The problem is] that of recovering the continuity of esthetic experience with normal processes of living." John Dewey, Art as Experience "This is not a protest. Repeat. This is not a protest. This is some kind of artistic expression. Over." (...) --A call that went out on Metro Toronto police radios on May 16, 1998, the date of the first Global Street Party. Quoted from Naomi Klein, No LogoThis paper argues for the importance of John Dewey's aesthetic philosophy to recent efforts to cultivate civic environmentalism while critiquing narrowly conservationist environmentalisms. We call for a strong version of civic environmentalism oriented towards holistic integration of ecological [End Page 74] concerns into all aspects of social, political, economic, and cultural life. Such a civic environmentalism argues that it is not enough to strive to preserve enclaved 'wilderness' or 'biodiversity' (as important as that is). It argues also for fundamental changes in the political and economic status quo, because ecological havoc is understood to be integrally linked with the structural forces that are increasing inequality and weakening democratic publics. Strengthening of the civic commons is integral to protection of the environmental commons. If the environmental commons are the substantive goods in common which are the sustaining grounds of life, the civic commons are the institutions, collective memories, social networks, and skills that enable and inspire individuals to engage with each other in stewarding the common good. Such collective labor for the larger good requires some form of collective imagination which enables awareness of self and other (human or non-human) as inherently valuable. But beyond this, it requires perceptual and social infrastructures that nurture the ability to see self and other as emergent from and dependent on the supra-individual matrix that supports both life and individual. Central to such civic labor, is a non-dualistic understanding of individual/matrix. Such a non-dualistic understanding of self/other-in-matrix is central to political and ecological imaginations that are decentered from ethnic, species, class, gender, or other forms of domination and solipsism.John Dewey's work as a whole is a powerful call for such a non-dualistic understanding of individual-in-matrix, and few have better understood its connections to democracy. But, it is in his philosophy of art that Dewey describes most specifically the central importance of the aesthetic dimension of public culture to overcoming crippling dualisms of Western modernity that vitiate participatory engagement- individual/world, nature/culture, ends/means, leisure/work, art/science, aesthetic/ordinary. His writings on art have not been much utilized in the philosophical work for civic environmentalism. This paper argues for their relevance to its key goal of overcoming the segmentation of life ushered in by modernity and buttressed by these dualisms.We first give an overview of recent theories of civic environmentalism and the crises it engages of inequality, injustice, technocracy, corporatization, and the pervasive assault on place and thinning of public participation. Second, we look at the implications of Dewey'saesthetic ecology for an "environmentalism of daily life" that challenges the false dualisms of neo-liberalism and of technocratic professionalism that undermine place-based [End Page 75] forms of life and knowledge. Third, we draw on Dewey's aesthetic philosophy to suggest ways to rebuild democratic public space at the nexus of body, place, and commons. Finally, we briefly outline key philosophical questions that have emerged in our ethnographic and political study of Appalachian grassroots activisms, and that embody this sort of placed, democratic mobilization to protect the civic and environmental commons. American Environmentalism: Crisis and Challenge Toward the end of the last decade, veteran New York Times journalist and now independent writer Philip Shabecoff set out to engage "a broad spectrum of thoughtful and informed people within and without the environmental movement." His Earth Rising: American Environmentalism in the 21st Century offers a very... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 74-92 [Access article in PDF] John Dewey's Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism Herbert Reid and Betsy Taylor "[The problem is] that of recovering the continuity of esthetic experience with normal processes of living." John Dewey, Art as Experience "This is not a protest. Repeat. This is not a protest. This is some kind of artistic expression. Over." (...) --A call that went out on Metro Toronto police radios on May 16, 1998, the date of the first Global Street Party. Quoted from Naomi Klein, No LogoThis paper argues for the importance of John Dewey's aesthetic philosophy to recent efforts to cultivate civic environmentalism while critiquing narrowly conservationist environmentalisms. We call for a strong version of civic environmentalism oriented towards holistic integration of ecological [End Page 74] concerns into all aspects of social, political, economic, and cultural life. Such a civic environmentalism argues that it is not enough to strive to preserve enclaved 'wilderness' or 'biodiversity' (as important as that is). It argues also for fundamental changes in the political and economic status quo, because ecological havoc is understood to be integrally linked with the structural forces that are increasing inequality and weakening democratic publics. Strengthening of the civic commons is integral to protection of the environmental commons. If the environmental commons are the substantive goods in common which are the sustaining grounds of life, the civic commons are the institutions, collective memories, social networks, and skills that enable and inspire individuals to engage with each other in stewarding the common good. Such collective labor for the larger good requires some form of collective imagination which enables awareness of self and other (human or non-human) as inherently valuable. But beyond this, it requires perceptual and social infrastructures that nurture the ability to see self and other as emergent from and dependent on the supra-individual matrix that supports both life and individual. Central to such civic labor, is a non-dualistic understanding of individual/matrix. Such a non-dualistic understanding of self/other-in-matrix is central to political and ecological imaginations that are decentered from ethnic, species, class, gender, or other forms of domination and solipsism.John Dewey's work as a whole is a powerful call for such a non-dualistic understanding of individual-in-matrix, and few have better understood its connections to democracy. But, it is in his philosophy of art that Dewey describes most specifically the central importance of the aesthetic dimension of public culture to overcoming crippling dualisms of Western modernity that vitiate participatory engagement- individual/world, nature/culture, ends/means, leisure/work, art/science, aesthetic/ordinary. His writings on art have not been much utilized in the philosophical work for civic environmentalism. This paper argues for their relevance to its key goal of overcoming the segmentation of life ushered in by modernity and buttressed by these dualisms.We first give an overview of recent theories of civic environmentalism and the crises it engages of inequality, injustice, technocracy, corporatization, and the pervasive assault on place and thinning of public participation. Second, we look at the implications of Dewey'saesthetic ecology for an "environmentalism of daily life" that challenges the false dualisms of neo-liberalism and of technocratic professionalism that undermine place-based [End Page 75] forms of life and knowledge. Third, we draw on Dewey's aesthetic philosophy to suggest ways to rebuild democratic public space at the nexus of body, place, and commons. Finally, we briefly outline key philosophical questions that have emerged in our ethnographic and political study of Appalachian grassroots activisms, and that embody this sort of placed, democratic mobilization to protect the civic and environmental commons. American Environmentalism: Crisis and Challenge Toward the end of the last decade, veteran New York Times journalist and now independent writer Philip Shabecoff set out to engage "a broad spectrum of thoughtful and informed people within and without the environmental movement." His Earth Rising: American Environmentalism in the 21st Century offers a very... (shrink)

Aesthetic experience is an emotional response to the spontaneous interpretation of an object/situation as symbolic of either the fulfilment of an impossible but inalienable desire (positive aesthet...

The Aesthetic Brain takes the reader on a wide-ranging journey addressing fundamental questions about aesthetics and art. Using neuroscience and evolutionary psychology, Chatterjee shows how beauty, pleasure, and art are grounded biologically, and offers explanations for why beauty, pleasure, and art exist at all.

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)

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)

Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments (...) can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (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)

Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments (...) can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

In the third Critique Kant details an aesthetic operation of judgment that is surprising considering how judgment functioned in the first Critique. In this book, I defend an understanding of Kant’s theory of Geschmacksurteil as detailing an operation of the faculties that does not violate the cognitive structure laid out in the first Critique. My orientation is primarily epistemological, elaborating the determinations that govern the activity of pure aesthetic judging that specify it as a "bestimmte" type of judgment without transforming (...) it into "ein bestimmendes Urteil". I focus on identifying how the logical functions from the table of judgments operate in the pure aesthetic judgment of taste to reveal "the moments to which this power of judgment attends in its reflection". In the course of doing so, a picture emerges of how the world is not just cognizable in a Kantian framework but also charged with human feeling, acquiring the inexhaustible, inchoate meaningfulness that incites "much thinking". The universal communicability of aesthetic pleasure serves as the foundation that grounds robust intersubjective relations, enabling genuine connection to others through a shared a priori feeling. (shrink)

Now I maintain that the beautiful is the symbol of the morally good. What sort of face does radical evil have? What strikes Hannah Arendt, as she sought to profile Adolf Otto Eichmann, is how completely ordinary he appeared in court. She describes him as medium-sized, middle-aged with receding hair, ill-fitting teeth, and nearsighted eyes. Yet this was the man who had meticulously organized the mass deportation of Jews to the extermination camps during the Holocaust. Like his appearance, his personality (...) seemed so typical that it led her to coin the phrase the “banality of evil.” Paradoxically, banality can be so extraordinary to the point that Eichmann appeared completely impersonal and inhuman, which.. (shrink)