Aesthetic Realism and Anti-Realism, Misc

My starting assumption concerns the default view in western aestethics. My claim is that the view can be characterized in the following manner: while the arts and religious experience are formally different kinds of human experience, the arts have the same content of religious experience (Essentialist claim, EC). I argue that both from a realist and antirealist standpoint EC does not make sense. Consequently, EC should be rejected as the right approach to the relation between the arts and religious experience.

"J'aime ce livre" serait une proposition insignifiante. L'artiste: un prétexte. On en parle, certes, mais dans une perspective de déconstruction. L'art, donc, plutôt comme expression de la vie. Et la vie comme art de la fuite révolutionnaire. Certains auteurs sont cités à satiété, certains passages sont repris textuellement, répétion aussi des mêmes thèmes, des mêmes expressions. Et une impasse fondamentale. "J'aime ce livre est en effet une proposition insignifiante.Tout propos portant sur le passé, dire "je t'aime", c'est dire qu'en ce (...) moment je ne t'aime pas. Mais si aimer, écrire et vivre constituent "un même combat", et si dire l'amour n'est pas aimer, comment écrire la vie serait-il vivre? Et que pourrait bien signifier la proposition "Je n'aime pas ce livre"? (shrink)

Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.

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)

According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s second argument (...) is shown to be formally flawed. As a result, the case for the aesthetic irrelevancy of orientation seems still open. (shrink)

Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...) the structure of being garish and being cacophonous. Finally, an explanation is given of how the issue of the structure of aesthetic properties bears on their reality and (presumed) response-dependence. (shrink)

Scientific realists argue that a good track record of multi-agent, and multiple method, validation of empirical claims is itself evidence that those claims, at least partially and approximately, reflect ways nature actually is independent of the ways we conceptualize it. Constructivists contend that successes in validating empirical claims only suffice to establish that our ways of modelling the world, our “constructions,” are useful and adequate for beings like us. This essay presents a thought experiment in which beings like us intersubjectively (...) validate claims about properties of particular things in nature under conditions in which those beings have profoundly different personal phenomenological experiences of those properties. I submit that the thought experiment scenario parallels our actual situation, and argue that this shows that successes in intersubjectively validating empirical claims are indeed enough to claim victory for the realist. More specifically, I champion a variation of realism that marries Ronald Giere’s brand of ‘perspectival realism’ with Philip Kitcher’s ‘real realism,’ and posits that causal relations between ourselves and properties instantiated in nature ground our references to the relevant properties even though our conceptions of them are perspective relative. (shrink)

Peter Kivy (1980, 2015) claims that expressivists cannot explain why we argue about art. Moral attitudes lead to action, and since actions affect people, we have a strong incentive to change people's moral attitudes. This can explain why we argue about morals, even if moral language is expressive of our feelings. However, judgements about what is beautiful and elegant need not significantly affect our lives. So why be concerned with other people's feelings about art? Kivy thinks the best explanation of (...) our tendency to argue about art is that we implicitly believe in objective facts about aesthetics. This would count against expressivism. I argue two things: (1) that there is no good reason to think that we don't care about preferences and emotions unless they have significant practical consequences and (2) that the truth of expressivism about aesthetic language is compatible with beliefs about objective aesthetic facts. (shrink)

Thesis: Art like science radically affects our perceiving and thinking, and the two are substantially alike in that together--along with an inherited "natural" language system with which they overlap--they enable us to articulate the world. Science has been advanced as the measure of all things: scientific realism. By implication, art pertains to beauty, science truth. Science effects conceptual break-throughs, changes our models of natural order. On the contrary (I argue), as a nonverbal symbol system art similarly affects paradigm-induced expectations. Substantively (...) there is no difference in the way each enables us to articulate or measure the world: symbolic realism. The myth of resemblance as a criterion of representation--imitation as a one-one relation--has, at least since the time of Plato, obscured this truth. Once the distinction between representational and nonrepresentational art falls, the true nature of artist (like scientist) as maker is illumined. The artist, the scientist (disciplinarian), the cosmologist (those responsible for the formulation of so-called natural languages--in time all of us) make the world or, what practically amounts to the same thing, the known, perceived world. This is the claim of the symbolic realist. Is symbolic realism itself only a watershed? What implication does this critique have for assessing the role of the philosopher today? (shrink)

The prevalence of colourful metaphors and figurative language in critics’ descriptions of artworks has long attracted attention. Talk of ‘liquid melodies’, ‘purple prose’, ‘soaring arches’, and the use of still more elaborate figurative descriptions, is not uncommon. My aim in this paper is to explain why metaphor is so prevalent in critical description. Many have taken the prevalence of art-critical metaphors to reveal something important about aesthetic experience and aesthetic properties. My focus is different. I attempt to determine what metaphor (...) enables critics to achieve and why it is so well suited to helping them achieve it. I begin by outlining my account of what metaphors communicate and defend it against objections to the effect that it does not apply to art-critical metaphors. I then distinguish between two kinds of art-critical metaphor. This distinction is not normally drawn, but drawing it is essential to understanding why critics use metaphor. I then explain why each kind of metaphor is so common in criticism. (shrink)

on great currency in analytic philosophical aesthetics. What is not generally known is that the American philosopher Eli Siegel called the philosophy he founded in the 1940s Aesthetic Realism. His philosophy has as its central principle: ‘The world, art, and self explain each other: each is the aesthetic oneness of opposites.’ Thus, two distinct uses of the same terminology exist, and should not be confused.

The mythic Snuff film has remained a persistent cinematic rumour since the mid-1970s. The discourses that surround Snuff are preoccupied by two factors: (a) the formal aesthetic, and (b) their alleged role as a kind of titillating pornography. Although critical narratives have been established to account for the subgenre, little has been done to unpick a recent wave of hardcore horror pseudo-Snuff texts, and the cultural climate they enter into. Exploring the August Underground trilogy (2001-2007) in particular, I investigate how (...) contemporary faux-Snuff fits into and challenges Snuff’s established rhetorical paradigms. This discussion is informed by the legacy of 1970s anti-porn feminism as well as the age of reality culture, torture porn, and extreme pornography that immediately situates 21st century hardcore horror. (shrink)

In this article I give a naturalistic-cum-formal analysis of the relation between beauty, empirical success, and truth. The analysis is based on the one hand on a hypothetical variant of the so-called 'mere-exposure effect' which has been more or less established in experimental psychology regarding exposure-affect relationships in general and aesthetic appreciation in particular (Zajonc 1968; Temme 1983; Bornstein 1989; (Ye 2000). On the other hand it is based on the formal theory of truthlikeness and truth approximation as presented in (...) my From Instrumentalism to Constructive Realism (2000). The analysis supports the findings of James McAllister in his beautiful Beauty and Revolutiorl in Science (1996), by explaining and justifying them. First, scientists are essentially right in regarding aesthetic criteria useful for empirical progress and even for truth approximation, provided they conceive of them as less hard than empirical criteria. Second, the aesthetic criteria of the time, the 'aesthetic canon', may well be based on 'aesthetic induction' regarding nonempirical features of paradigms of successful theories which scientists have come to appreciate as beautiful. Third, aesthetic criteria can play a crucial, schismatic role in scientific revolutions. Since they may well be wrong, they may, in the hands of aesthetic conservatives, retard empirical progress and hence truth approximation, but this does not happen in the hands of aesthetically flexible, 'revolutionary' scientists. (shrink)

Introduction -- Wittgenstein's early conception of value -- An outline of tractarian ontology -- Value, the self, and the mystical -- The lecture on ethics -- Language-games, the private language argument and aspect psychology -- Language-games -- The private language argument -- Aspect psychology -- The soul and attitudes towards the living -- Wittgenstein's general conception of the soul -- Ilham Dilman on the soul and seeing-as -- Religious contexts -- J.B. Watson and the denial of the soul -- Attitudes (...) towards other minds and forms of life -- The soul and the face -- Aspect blindness and dawning -- Particularism, rule-following, and evaluations -- David McNaughton on the property of humanity and particularism -- John McDowell on rule-following and values -- Peter Winch on moral particularism -- The meaning and value of the religious point of view -- Wittgenstein on Frazer's golden bough -- Truth in religion -- Wittgenstein on art : reactions and causes -- Aesthetics, causes, and natural history -- A contemporary evolutionary account of aesthetic value -- Neuro-scientific accounts -- Aesthetic realism and the definition of art -- Aesthetic historicism and relativism -- Institutional and historical theories of art -- Forms of life, moral truth, and justification -- Cora Diamond on forms on seeing-as theory and imagination -- Paul Johnston on moral justification and truth -- D.Z. Phillips and H.O. Mounce on the justification of morality -- Doubt and certainty : framework beliefs and core values -- An overview of certainty -- Avrum Stroll, Anthony O'Hear , and Cyril Barrett on certainty and value -- Cultural relativism and institutional embodiment -- Peter Winch on cultural relativism -- Sabina Lovibond on moral facts and institutional embodiment -- Cyril Barrett on cultural relativism -- Conclusion: How to do things with Wittgenstein. (shrink)

Zombie art, or salvage art, are artworks that are damaged beyond repair, deemed by insurance companies, and removed from the market and stored at claims inventories due to their purported loss of value. This paper aims to make sense of the notion of zombie art. It then aims to determine whether artefacts that fall under this concept retain any aesthetic value, and whether they can genuinely cease being artworks, i.e. be dead art.

The aim of this work is to account for expressions like “Cantor’s diagonal proof is elegant” or “Euler identity is the most beautiful formula of mathematics”. This type of expressions is common among mathematicians; however, they may result in two kinds of puzzled reactions: first, the non mathematician may find the use of the word ‘beautiful’ strange in this context. Second, the mathematician may try to reinterpret mathematical beauty in terms of the principles and precepts of mathematics itself. I present (...) an account of mathematical beauty that offers a way to avoid these puzzled reactions: mathematical beauty is just a type of “normal” beauty and no reinterpretation is necessary. To support this claim, I devise an aesthetic theory -by using insights and findings from experimental psychology, neurology, philosophical and psychological theories of emotion in art, philosophy of music and philosophy of science- that shows that aesthetic judgments in mathematics are genuine aesthetic judgments. (shrink)

Ingarden (1962, 1964) postulates that artworks exist in an “Objective purely intentional” way. According to this view, objectivity and subjectivity are opposed forms of existence, parallel to the opposition between realism and idealism. Using arguments of cognitive science, experimental psychology, and semiotics, this lecture proposes that, particularly in the aesthetic phenomena, realism and idealism are not pure oppositions; rather they are aspects of a single process of cognition in different strata. Furthermore, the concept of realism can be conceived as an (...) empirical extreme of idealism, and the concept of idealism can be conceived as a pre-operative extreme of realism. Both kind of systems of knowledge are mutually associated by a synecdoche, performing major tasks of mental order and categorisation. This contribution suggests that the supposed opposition between objectivity and subjectivity, raises, first of all, a problem of translatability, more than a problem of existential categories. Synecdoche seems to be a very basic transaction of the mind, establishing ontologies (in the more Ingardean way of the term). Wegrzecki (1994, 220) defines ontology as “the central domain of philosophy to which other its parts directly or indirectly refer”. Thus, ontology operates within philosophy as the synecdoche does within language, pointing the sense of the general into the particular and/or viceversa. The many affinities and similarities between different sign systems, like those found across the interrelationships of the arts, are embedded into a transversal, synecdochic intersemiosis. An important question, from this view, is whether Ingardean’s pure objectivities lie basically on the impossibility of translation, therefore being absolute self-referential constructions. In such a case, it would be impossible to translate pure intentionality into something else, like acts or products. (shrink)

Aesthetic realism is offered as a way of overcoming aesthetic disagreement and combating all forms of subjectivism, emotivism, and so on, with its thesis that aesthetic qualities really exist and the judgements about them are genuine statements of fact. This paper questions the intelligibility of that thesis together with its claim that aesthetic qualities are supervenient upon non-aesthetic ones. It is suggested that in this context supervenience amounts to little more than aspect perception and that allows ontological claims about supervenient (...) qualities to be rejected. Subjectivism, however, is not the alternative. Neither realism nor subjectivism do justice to the complexity of aesthetic judgements and the roles that they play in our lives. It is suggested that the nature of these judgements is best pursued through Wittgenstein’s notions of aspect perception and imponderable evidence. (shrink)

Ontology is the study of what exists and the nature of the most fundamental categories into which those existents fall. Ontologists offer a map of reality, one divided into such broad, overlapping territories as physical and mental, concrete and abstract, universal and particular. Such a map provides the setting for further philosophical investigation. Ontologists of art seek to locate works of art in this wider terrain, to say where in our universe they fit in. Their governing question is, thus, “What (...) kind of thing is a work of art?”. (shrink)

Quine’s desert is generally contrasted with Meinong’s jungle, as a sober ontological alternative to the exuberant luxuriance that comes with the latter. Here I focus instead on the desert as a sober metaphysical alternative to the Aristotelian garden, with its tidily organized varieties of flora and fauna neatly governed by fundamental laws that reflect the essence of things and the way they can be, or the way they must be. In the desert there are no “natural joints”; all the boundaries (...) we find are lines we have drawn, artificial fencings that merely reflect of our own demarcations, our classifications, our desperate need to ward off the flux and meet an excusable but ungrounded demand for order and stability. The desert returns a picture of reality that is radically anti-realist. And yet the picture does not amount to a form of irrealism. The desert is out there and is what it is regardless of how we feel. And it is not completely structureless. It’s just that the structure it has is very thin and does not correspond to the sort of structure that so-called metaphysical realists—and scientific realists alike—tend to attribute to it. (shrink)

I shall discuss several related issues about beauty. These are: (1) The place of beauty among other aesthetic properties. (2) The general principle of aesthetic supervenience. (3) The problem of aesthetic relevance. (4) The distinction between free and dependent beauty. (5) The primacy of our appreciation of free beauty over our appreciation of dependent beauty. (6) Personal beauty as a species of beauty. (7) The metaphysics of beauty.

Among the book's arguments: Aesthetic property relativism, as described by Alan Goldman, requires subjects to make judgments based on prima facie preferences for determinable properties (eg being curved, being blue). These judgments are not bona fide because they do not require acquaintance with objects. Value concepts and aesthetic (thick) concepts relate contingently. We can be aesthetic property realists, or quasi-realists, without being aesthetic value realists. Contains epistemological arguments against neuro-aesthetics (Ramachandran), aesthetic sense theory (Hutcheson), physiological theories (Burke), and Hume's realism.