Aesthetic Representation

Vivian Maier’s street photography shows us a sudden transfiguration of reality, by which persons, scenes and things become faerical (neologism that also receives one of the senses of the French féerie , a play where supernatural, or, in this case, also infranatural creatures appear). We propose that this transfiguration is an apparition – a faerical epiphany (always earthy and fleshy) that follows two ways, one sunny and luminous, the other obscure and subterranean. We will examine Maier’s body, reflected in her (...) self-portraits in order to propose that her sight (therefore her photography) is a daemonic one, an intermediary between our and other worlds. -/- La fotografía callejera de Vivian Maier nos hace ver una súbita transfiguración de la realidad por la cual las personas, las escenas y las cosas devienen féricas , neologismo que nos permitimos para recoger del inglés el universo de las faeries y traducir a la vez uno de los sentidos del francés féerie , pieza de teatro en la que aparecen seres sobrenaturales (o, en este caso, infranaturales). Esa transfiguración, proponemos, es en rigor una verdadera aparición: una epifanía feérica (siempre carnal) que se despliega en dos direcciones, solar y subterránea. Nos detendremos en el cuerpo de Maier, reflejado en sus autorretratos, para proponer, finalmente, que su mirada es un daimon, intermediaria entre éste y otros mundos. (shrink)

El artículo explora la forma estética de las ruinas como una poética del tiempo donde se articulan fuerzas contrapuestas que configuran una singular vivencia de la historicidad humana. Orientándose por las indicaciones de Martin Heidegger y Georg Simmel, reflexiona acerca de valor estético-existencial de las ruinas y su réplica subjetiva en el sentimiento de nostalgia, así como su importancia para el reconocimiento de la unidad narrativa de la existencia humana.

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

The paper explores Burke’s twofold solution to the paradox of negative emotions. His Philosophical Enquiry (1757/59) employs two models that stand on different anthropological principles: the Exercise Argument borrowed from authors like the Abbé Du Bos, guided by the principle of self-preservation, and the Sympathy Argument, propageted by notable men of lettres such as Lord Kames, ruled by the principle of sociability. Burke interlocks these two arguments through a teleologically-ordered physiology, in which the natural laws of the human body and (...) mind, secretly working in the depth of the nerve fibres, ensure both self-preservation and sociability. Utilizing both efficient and final causes throughout his Enquiry, Burke argues that the experiences of pain and terror – under certain conditions – are made agreeable (delight) by providence,so that the physiological mechanisms underlying these experiences could ensure the health and strenuousness of the nerve fibres amidst the corrupting pleasures of commercial society (Exercise Argument). Furthermore, due to the ambiguous character of this delight annexed to such experiences, they also function as exercises for our social passions (Sympathy Argument). Te 'egoistic' anthropological drive to remove the visceral uneasiness that dominates these experiences facilitates moral action when it is needed the most: when others in pain need our help. In accordance with the anthropocentric providentialism of the moderate Enlightenment, it is the design of the human frame that ensures the activities essential to our health (self-preservation) and moral conduct (sociability), a design that not only guarantees that pleasure, if exclusive and excessive, is 'inconvenient', and pain, if mitigated and harmless, is aesthetically agreeable, but also that our 'egoistic' drive to self-preservation ultimately improves sociability. (shrink)

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and German (...) aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)

We support the idea of applying cultural evolution theory to the study of storytelling, and fiction in particular. However, we suggest that a more plausible link between real and imaginary worlds is the feeling of “presence” we can experience in both of them: we feel present when we are able to correctly and intuitively enact our embodied predictions.

Current crises give new urgency to the question of speaking and acting for others. How does one advocate for those whose voices are not heard? For stateless people, future generations, non-human actors, environments? The question of the possibilities and limits of representation arises anew against this backdrop and can be turned differently through the technique of "representation by proxy" (Stellvertretung) that steps in here. This technique does not prove to be a mere exception for supposed borderline cases. Rather, as this (...) book shows, substitution is inherent in all speech and action. The history of theatrical, theological, juridical, and narrative scenes of substitution reveals the constitutive ambivalence of this technique: Substitution can bring to the fore precisely those who are otherwise not heard; however, it simultaneously doubles and divides the position of the represented and threatens to displace the very ones it represents. -/- In readings from Aeschylus to Shakespeare and Hobbes, from Kleist and Kant to Kafka and the "ecopoetics," Katrin Trüstedt unfolds the multi-layered archaeology of substitution. In the process, a different history of the person also emerges. Against the attempt of the overcoming and internalization of substitution in the subject, this book wants to unfold the interpersonal technique of representation by proxy in all its complexity in order to open a more dynamic scene of the person and representation. (shrink)

In nature validation for physiological and emotional bonding becomes a mode for supporting social connectivity. Similarly, in the blockchain ecosystem, cryptographic validation becomes the substrate for all interactions. In the dialogue between human and artificial intelligence (AI) agents, between the real and the virtual, one can distinguish threads of physical or mental entanglements allowing different modes of participation. One could even suggest that in all types of realities there exist frameworks that are to some extent equivalent and act as validation (...) mechanisms for behavioural interweaving. Relevant to our own experience as an Editorial Organism, in this issue of Technoetic Arts we explore modes of participation and collaboration through different lenses by including guest-edited sections and stand-alone articles. (shrink)

As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...) this fact, it is of significance to consider the tension between creativity and mimesis in image practices from an intercultural perspective. (shrink)

Visual literacy has long been important as a way of reading images beyond mimetic illustration. It also allows the reader to tap into a logic of representation in order to create different representations and narratives. In this essay I argue that images provide crucial temporal complexity to the study of narrative, with particular resonances for narrative historiography. The complex temporality of the image, especially the graphic narrative or comic, points toward a historical time which may be neither linear nor causal. (...) Moreover, images demand interaction from the reader, but offer many avenues of interpretation, suggesting that the reader pay attention to their own constructions of meaning and practices of narrativizing. -/- La litéracie visuelle a longtemps été importante comme façon de lire les images hors de simple illustration mimétique. Elle permet aussi le lecteur d’entrer dans une logique de représentation pour créer des différentes représentations et des différentes narrations. Dans cet essai, je soutiens que les images fournissent une cruciale complexité temporale pour l’étude des narrations, avec valence particuliaire pour l’historiographie narrative. La temporalité complexe de l’image, surtout la narration graphique ou bande dessinée, indique une temporalité historique qui sera peut-être ni linéaire, ni causative. Par ailleurs, les images exigent l’intéraction du lecteur, et au même temps ils offrent plusieurs avenues d’interprétation, ce qui attire l’attention du lecteur à ses propres habitudes de lecture et à ses propres narrations construits. (shrink)

Bilder sind, anders als es eine hartnäckige ästhetische Tradition will, nicht bloß Raumkünste, sondern gehorchen einer ganz eigenen Zeitlichkeit. Was auf der Bildoberfläche liegt, ist bereits mit einem Blick zu erfassen, und doch entfaltet sich der ganze Detailreichtum der Bilderscheinung erst ganz allmählich. Diesem langsamen In-Erscheinung-Treten der Bilder steht die Plötzlichkeit gegenüber, mit der sie auftauchen und wieder verschwinden. Sie bannen einzelne Augenblicke, wirken dadurch oft schockhaft, traumatisch, überfordernd; selbst in filmischen Sequenzen tritt dieses Plötzliche auf, in Momenten der Montage (...) und des Blickwechsels. Erscheinung und Ereignis versammelt 10 Beiträge aus Philosophie und Kunstwissenschaft, die aus verschiedener Perspektive nach den eigentümlichen Rhythmen, Chronologien und Zeitläufen des Ikonischen fragen. (shrink)

splorando con interesse il vasto mondo delle scienze filosofiche, l’autore del presente saggio si è proposto di indagare la cosiddetta teoria della sensazione . Tema trattato da molti pensatori, sin dall’antichità esso ha affascinato ed occupato la specula zione di tuttele branche della materia, riscuotendo particolare successo ai giorni nostri con leneuroscienze, il cui progresso sta permettendo di coniugare la riflessione filosofica con lescoperte scientifiche, aprendo nuovi scenari di approfondimento e ridefinizione concettuale.Senza la pretesa di una completa esaustività, la presente (...) trattazione mira a fornireuno sguardo critico e ragionato su come la sensazione sia stata oggetto di riflessione da partedi Aristotele, primo filosofo nel quale trovia mo riferimenti all’argomento da noi trattato, nelle cui opere sono presenti numerosi spunti di analisi ancora attuali.Trattandosi di un argomento molto ampio ed in costante aggiornamento, ci limiteremo a considerare della teoria delle sensazioni l’aspetto inerente alle passioni e lesensazioni aristoteliche. L’inquadramento filosofico verte su un’analisi il più possibile oggettiva, realista e nell’ottica di una comprensione sistemica degli oggetti presi in analisi, nel rispetto del primato della verità ragionata e scientifica rispetto alle opinioni e credenze. (shrink)

Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has (...) heretofore been acknowledged but not examined in detail, giving an impression of a tension that is constant. However, the paired concepts of formal reliefs and representation checks, once introduced, allow us to explain how rules and fiction interact to alter the ways in which players engage with games in a dynamic but limited way. (shrink)

Narrative has proven itself a continuous as well as adaptable means for environmentally oriented expression. Its role goes beyond the mediation of pre-existing knowledge imported into the realm of storytelling from other domains; rather, influential models of the natural world tend to circulate as storyworlds. This special issue of SubStance proceeds from the premise that narratives are not only a sequence of signs encoding a story but also “invisible, elusive representations that exist only in the mind”. Narrative forms generate and (...) transfer environmental knowledge; moreover, any specifically narrative concerns are important contributing factors to the models of agency, change... (shrink)

This paper introduces the reconciliation as well as an analysis of the divide between contemporary and classical aesthetics in architecture. The analysis outlines the segmentation as one of the standards rather than of aesthetic appeal, concluding with a proposal for the reconciliation by means of integrating modern and contemporary art into today’s architecture. This reconciliation would not only serve as an artistic take on architecture but also raise awareness of the subjectivity of beauty in architecture. In the conclusion of this (...) paper, there are highlighted illustrations demonstrating the picturesque outcome of using this proposed method of integration. (shrink)

In the present work, we will analyze the concept of intuition mainly in relation to the epistemological and the metaphysical theses of Schopenhauerian theory. In the first section, we will discuss the central axes of Schopenhauer’s metaphysical system, especially regarding the concept of will (Wille) and the relationship that this entails with his theory of knowledge. Then, we will examine the difference that the German philosopher establishes between representative —or mediated— rational knowledge and direct —or immediate— intuitive knowledge. Likewise, we (...) will trace at first the theses and the fundamental problems of the dualism of representation and we will furtherly establish the problem of the intuition of one’s own body. Finally, we will consider the scope and the limits of intuition, as well as its different variants: mainly aesthetic intuition and its culmination in mystical intuition. (shrink)

Deleuze’s The Logic of Sense- Irfan Ajvazi.

This paper develops a theory of analog representation. We first argue that the mark of the analog is to be found in the nature of a representational system’s interpretation function, rather than in its vehicles or contents alone. We then develop the rulebound structure theory of analog representation, according to which analog systems are those that use interpretive rules to map syntactic structural features onto semantic structural features. The theory involves three degree-theoretic measures that capture three independent ways in which (...) a system can be more or less analog. We explain how our theory improves upon prior accounts of analog representation, provides plausible diagnoses for novel challenge cases, extends to hybrid systems that are partially analog and partially symbolic, and accounts for some of the advantages and disadvantages of representing analogically versus symbolically. (shrink)

Little has been said about whether pictures can depict properties of properties. This article argues that they do. As a result, resemblance theories of depiction must be changed to accommodate this phenomenon. In addition, diagrams and maps are standardly understood to represent properties of properties, so this article brings accounts of depiction closer to accounts of diagrams than they had been before. Finally, the article suggests that recent work on perceptual content gives us reason to believe we can perceive properties (...) of properties. (shrink)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...) this question. The notable exception is M.G.F.Martin’s account of pictures in terms of an ‘image’, a pure visibile that presents the represented object and its features without exemplifying them. In order to interpret Martin’s view so as to bring out its plausibility, I relate it to the somewhat similar position advocated by Lambert Wiesing’s account of pictures and our experience of them. That done, I ask whether a position drawing on both these positions can justify drawing a fundamental distinction between the ways in which pictures and sculptures present what they represent. (shrink)

Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.

Since 2015, the ‘refugee crisis’ is possibly the most photographed humanitarian crisis in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to “welcoming refugees” in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the ‘refugee crisis,’ showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and ‘race,’ essential to the functioning of (...) bordered nation-states. Taking photography not only as the object of research, but innovating the method of photographìa— the material trace of writing/grafì with light/phos—this book urges us to view images and their reproduction critically. Part theoretical text, part visual essay, "Reproducing Refugees" vividly shows how institutional violence underpins both the spectacularity and the banality of ‘crisis.’ This book goes about synthesising visual studies with queer, feminist, postcolonial, post-structuralist, and post-Marxist theories. "Reproducing Refugees: Photographìa of a Crisis" offers theoretical frameworks and methodological tools to critically analyse representations, both those circulated through hegemonic institutions, and those generated from ‘below’. It carves a space between logos and praxis, ways of knowing and ways of doing, by offering a new visual language that problematises reified categories such as that of the ‘refugee’ and makes possible disruptive, alternative, resistant perceptions. The book contributes to the fields of migration and border studies, critically engaging visual narratives drawn from migration movements to question dominant categories and frameworks, from a decolonial, no-borders, queer feminist perspective. (shrink)

In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...) his account of representation. My own proposal is that in our apprehension of non-figurative artworks, our attention is drawn to the underlying structures of both emotive and perceptual experience. In this way, paintings, particularly abstract ones, disclose human cognition in a manner that makes fictionality an inappropriate tool for their analysis. (shrink)

One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...) characters. I will call the latter “literary empathy”. In the second part of the paper I will examine the arguments for and against the double thesis that reading literature enhances our ability to feel empathy, and that feeling empathy prompts altruistic behaviour. (shrink)

In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...) gliedert sich in zwei Teile. Im ersten Teil werde ich die Frage untersuchen, inwiefern Dokumentarfilme „Dokumente“ der Realität sind. Dabei werde ich verschiedene Interpretationen des epistemischen Ziels von Dokumentarfilmen besprechen und auch die „Vergegenwärtigungsansicht“ als Ergänzung zu der „assertorischen Ansicht“ (Plantinga, Carroll und Currie) und zu der „Verstehensansicht“ (Dromm) anbieten. Im zweiten Teil sollen die Ähnlichkeiten und Unterschiede zwischen Dokumentarfilmen und Spielfilmen besprochen werden, um genauere Unterscheidungskriterien zu entwickeln. Ich werde hierfür den phänomenologischen Begriff der Imagination (Sartre, Meunier) einführen und seine Produktivität für die Debatte über den kognitiven Wert von Dokumentarfilmen aufzeigen. (shrink)

This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how this drama can (...) be regarded as a piece of philosophical work. (shrink)

While drawing from the philosophy of Bernard Stiegler throughout the paper, I commence by highlighting Zoltan Istvan’s representation of transhumanism in the light of its role in politics. I continue by elaborating on the notion of the promise of eternal life. After that I differentiate between subjects that are proper for philosophy (such as the mind or whether life is worth living) and science (measurable and replicable). The arguments mostly concern mind-uploading and at the same time I elaborate on a (...) simple critique of mind-body dualism, which is one of the key imagined orders exploitable by technologies in the narratives of transhumanism present in popular culture. This is reframed as a problem of action. The focus of this article is on the claim that certain transhumanisms are dangerous forms of Neo-Darwinism. It comes from a critical assessment of capital and the exploitation of bodies through market forces. Entropy is a process of growing disorder, while neganthropy is an anthropological struggle against exploitation, not only of bodies, but of all ecosystems of the Earth. The arguments of Stiegler from a collection of lectures are recapitulated, and his claims are presented through the prism of transhuman narrative, with a particular focus on Christian Salmon's position in the book Storytelling: Bewitching the Modern Mind. (shrink)

The aesthetic, according to Wolfgang Welsch, has several semantic variants. One of them is a phenomenalistic one. Referring to this variant, I show that the aesthetic is something more than a secondary component of electronic capital markets, which reflects what is happening to them and supports economic actors in their investment decisions. Namely, it is something that reaches out to such important things as the very existence and functioning of financial markets, their moral and social legitimization, the mode of participation (...) of economic actors on these markets, their experiences and behavior and the popularity of investing in the markets. Thus, it can be said that the aesthetic is an integral and constitutive element of capital markets and not just their supplement, which only represents these markets and supports financial subjects in their investment behavior. (shrink)

The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.

At the twilight of the nineteenth century, the French symbolist writer Marcel Schwob assimilated Paolo Uccello (1397-1475) into modern sensibilities: “For Uccello did not care about the reality of things, but about their multiplicity and about the infinitude of lines.” Schwob’s consideration of Uccello (much like Antonin Artaud’s, who wrote the surrealist “Uccello le poil”) has been traditionally neglected by art historians. And yet, these literary encounters with the painter retain a sense of hermeneutical validity that, I argue, transcends the (...) “merely” poetic. In this essay, I examine an unusual work of art, The Funerary Monument to John Hawkwood, which has been seen as exemplifying Uccello’s artistic deficiencies in its lack of unified space and illusionistic volume. In contrast, by being attentive to Schwob and Artaud’s analyses, I propose that the fresco presents a never-fulfilled visual experience in which resonating negations (of centrality, spatiality, and existence) articulate the spatial relationship between the artwork and its viewers. A reticent monument, the paradoxical space in Uccello’s Hawkwood presents a series of dislocations, traces, and erasures, which disclose the artifice of the painting and bring Hawkwood forth, not as a living being, but as a disembodied memory. (shrink)

Why does aesthetics matter in aesthetic education? What are the issues that this area of philosophy deals with, and what kind of questions does it raise in relation to art and the experience one has when s/he comes into contact with a work of art? Moreover, how can aesthetic theory provide sufficient justification for establishing aesthetic education as an autonomous and important field in education? In addressing these fundamental questions, the author: A) follows the development of aesthetics as a series (...) of transformations and continual engagement with the core issues related to art and the aesthetic experience. She argues that the task of aesthetic theory is to re-examine the conditions under which both art and the aesthetic experience are approached and, in the process, to challenge unsubstantiated claims and prejudices associated with them. B) The author also attempts to show how, due to its reflective and critical nature, aesthetics could become the foundation of aesthetic education. She argues that, as a result, questions of major importance for shaping the content and aims of aesthetic education can be fruitfully answered from the perspective of aesthetic theory. (shrink)

This article explores the cultural contexts in which three-dimensional imaging has been developed, disseminated and used. It surveys the diverse technologies and intellectual domains that have contributed to spatial imaging, and argues that it is an important example of an interdisciplinary subject. Over the past century-and-a-half, specialists from distinct fields have devised explanations and systems for the experience of 3-D imagery. Successive audiences have found these visual experiences compelling, adapting quickly to new technical possibilities and seeking new ones. These complementary (...) interests, and their distinct perspectives, have co-evolved in lock-step. A driver for this evolution is visual culture, which has grown to value and demand the spectacular. As a result, professional and popular engagements with 3-D have had periods of both popularity and indifference, and cultural consensus has proven to be ephemeral. (shrink)

I discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior experience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N. Denisyuk (1927-2005) in the Soviet Union, and Emmett N. Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, an association that influenced its assessment by (...) successive audiences of practitioners, entrepreneurs, and consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated. Conversely, the understanding of this new science and technology in terms of an older one helps to explain why the cultural effects of holography have been more muted than anticipated by forecasters between the 1960s and 1990s. (shrink)

Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...) the face of internal and external contradictions, seeking the opposition to the representation of the aesthetic form. Marcuse refutes the conceptions of some “orthodox Marxist aesthetes”, making, therefore, the defense in relation to the art when recognizing that it transcends the material relations. He still considers the literary currents of romanticism and surrealism fundamental to awaken critical consciousness, and that the autonomy of art (independence, freedom, and fantasy), integrate the categorical imperative that “things must change” against the realism of the Marxist aesthetes. In this sense, we intend to expose Marcuse’s critical to the Marxist esthetes in order to understand the critical function of art for the liberation struggle. Keywords: Aesthetics. Orthodoxy. Critic. (shrink)

After the collapse of the totalitarian regimes, participation into public matters has been an objective of democratic theory. Judging by a variety of instances from the sixties to today, it can be said that finding new means for encouraging audiences to participate in their works has become the major concern for contemporary art as well. Therefore, we can say that the problem of participation is the focal point of art and politics.

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...) The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

I offer a theory of art that is based on science. I maintain that, as any other human activity, art can be studied with the tools of science. This does not mean that art is scientific, but aesthetics, the theory of art, can be formulated in accord with our scientific knowledge. I present elucidations of the concepts of aesthetic experience, art, work of art, artistic movement, and I discuss the ontological status of artworks from the point of view of scientific (...) philosophy. (shrink)

My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case without (...) recourse to symbol systems. Together, the twin principles of hypothetical verity and aspectival absolutism constitute a theory of realism able to account for realistic fictional entities, the problem of revelatory realism and images that teach new information. (shrink)

In past decades, the subject of atmosphere has gone beyond the physio-meteorological scope and become a new concept of aesthetics. As the primary sensuous reality constructed by both the perceiving subject and the perceived object, atmosphere is neither a purely subjective state nor an objective thing, but essentially is a quasi-object pervaded by a specific emotional quality and a ubiquitous phenomenon forming the foundation of our life experience. In this respect, a decisive factor is not what we perceive but how (...) we perceive. Furthermore, the quasi-objective quality of atmospheric phenomena makes it possible that atmosphere is producible. A practical dimension is thereby, from the outset, included in the consideration of this concept. The aesthetic research into atmosphere initially resulted from the consideration of meteorological phenomena. Olafur Eliasson's “The Weather Project” is exemplary for its artistic practice in this field. With the combination of high-tech and natural elements, the focus of this installation work is not on the weather process itself but on creating a specific atmospheric space to develop viewers' immersive perception of their surroundings. The museum itself is hence transformed into a site providing an immediate, multi-sensory experience. Meanwhile, based on the criticism of the conventional museum institution that mediates or even manipulates art perception, revealing the construction behind the construction is an integral part of the atmospheric design of the Weather Project. This is characterized, on the one hand, by deliberately exposing staging strategies and, on the other hand, by creating unusual settings to enable viewers to reexamine their perceptions in addition to the surroundings shaping them. (shrink)

What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror (...) movie even though we know it to be fictional? -/- In Conversations on Art and Aesthetics, Hans Maes discusses these and other key questions in aesthetics with ten world-leading philosophers of art: Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. -/- The exchanges are direct, open, and sharp, and give a clear account of these thinkers' core ideas and intellectual development. They also offer new insights into, and a deeper understanding of, contemporary issues in the philosophy of art. (shrink)

The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...) utterance model. That is, people who interpret in accordance with these positions end up interpreting an implied author. (shrink)

The history of gender challenges faced by women in elite sports is fraught with controversy and injustice. These athletes' unique physical beauty creates what appears to be a paradox yet is, in fact, scientifically predictable. Intense training for the highest levels of competition leads to unique bodily strength and rare beauty associated with specific anatomic changes, leading top athletes to be singled out as exceptions from their gender and even excluded from competing. Authorities like the IOC and IAF, as well (...) as coaches and fellow athletes, use traditional and sometimes racialized aesthetic norms as the basis for ungrounded judgments of "gender mis-identity." Misjudging the gender identity of elite athletes exemplifies a biased cognitive framework, a form of erroneous and damaging categorical perception that we call "perceptual sexism." We argue that perceptual sexism has a long history within aesthetic and competitive realms and is still perpetuated by popular culture. Correcting this will reduce injustices created by gender identity controversies. (shrink)

Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...) cites her own words and offers commentary and explanation on her complex and conceptual works of art. I offer a concept of "virtual beauty" and locate her aesthetic intentionality within the realm of traditional art history (works by the great "masters" of art) and traditional aesthetics, rejecting any possibility of a viewer's disinterested stance toward Orlan's visual representations. (shrink)

As a contemporary form of aesthetics of nature, Eco-aesthetics is dedicated to an aesthetic revision of the split between humans and nature in the process of modernization. Starting from the criticism that the current eco-aesthetic research is usually limited to a taste evaluation of natural beauty and that many studies pay little attention to practically reconstructing a new harmony between humans and nature under contemporary conditions, the article focuses on the following issue: a) To what extent can the approach of (...) Eco-aesthetics be theoretically re-formulated so that the perspective of traditional aesthetics of judgment, predominantly fixed on the experience and reflection of natural beauty, can be avoided? b) How can this reformulation contribute to recultivating and renaturing an environment in a widely urbanized world? Here the concept of ‘atmosphere’ which has been primarily developed by contemporary German philosophers emphasizes the interaction between bodily perception and the qualities of the surrounding environment is of particular significance for solving these issues. It is demonstrated that in atmospheric experiences the body embeds man, together with his multifarious ways of perception and sense experiences, into nature so that man and nature are interrelated with each other and merged into a unified whole. The eco-aesthetic meaning here transcends the framework of the beauty of nature and is characterized by an infinite range of perceptual possibilities towards the integration of the human situation and the environmental conditions. At the same time, the investigation of the conditions and forms of atmospheric creation will contribute to further extending the eco-aesthetic vision to the practical area. And it is not least this practical dimension that distinguishes the Eco-aesthetics from traditional aesthetic approaches to nature. (shrink)