Aesthetics

Intercultural Approaches between Europe and China via Art? -/- Two landscapes from different cultures, Europe and China, that are both considered masterpieces are the focus of a study by Martina Sauer. To what extent are they each perceived as beautiful? Can the differences in aesthetic understanding tell us something about the respective cultures? Do the results have the potential to contribute to intercultural rapprochement between Europe and China? The possibility that these ideas can be fruitful for intercultural connections and understanding, (...) and for a re-evaluation of the interaction between humans and nature, is considered and analysed using the tools and theory of vitality semiotics (VS). -/- The task is examined by taking up premises from the philosophy of emotions by Sabine A. Döring, from the art history by Heinrich Wölfflin, from the infant research by Daniel N. Stern and from the empirical research in neuroscience on vitality forms by the research group around Giacomo Rizzolatti. -/- Cf. Martina Sauer, Vitality Semiotics: The Ever Beautiful and Its Potential for an Intercultural Approach: In Atmospheric Design and Everyday Aesthetics, edited by David Brubaker & Zhuofei Wang [Contemporary Aesthetics, Special Volume 12, 2024]: 1-11. (shrink)

The starting point for the considerations in the article is the statement of Keiko Yamanaka that the Japanese know nothing about resistance to the bacterium represented by another human being. In the article, however, we put forward the thesis that Japanese culture has developed a collective immune system resulting not from individual but from shared systemic immunology in connection with the performance of family, professional and social functions. The analysis of Japanese ‘cultural immunology’ includes an examination of the ways of (...) functioning of the body in contemporary Japanese culture. To this end, we first discuss the relationship between humans and nature in Japanese religious-ethical tradition. Next, we examine the Japanese relationship to the body as a special part of nature. Then we analyze the tension in the Japanese culture between individual and sociocultural bodies. In conclusion, we show what the sociocultural body is and how it functions in the system of ‘cultural immunology’ in contemporary Japan. (shrink)

Taking my cue from the longest-standing theory of beauty to date, which identified beauty with formal properties such as order, harmony, and proportion, I argue that wellformedness—understood under a tripartite account comprising abstract, categorial, and functional species—is a necessary condition for beauty, which itself comprises three corresponding species. To this end, I offer a new conception of wellformedness along with a clear taxonomy of both beauty and wellformedness. My account reverses the common tendency to treat species of beauty that are (...) independent of considerations of objects’ functions or kinds as paradigmatic and others as derivative, construing instead all three species as interrelated. In doing so, my proposal sheds considerable light on the concept of beauty, provides a measure of objectivity in our understanding thereof, clarifies the conceptual terrain in the philosophy of beauty, and elucidates some central links between beauty, form, and our interests and values. (shrink)

We regularly talk about music as if it has moods or, at least, expresses moods. However, the relationship between psychological and musical moods remains mysterious. Music doesn’t have feelings, so how could it have moods? To make up for that, many philosophers have provided theories of expression that don’t rely on music actually possessing anything mood-like. In this paper, I argue that if we take seriously an account of psychological moods that includes patterns of attention as part of the mood (...) itself, we can explain how music can, in fact, have moods; namely, by having a structure that resembles the structure of a mood. I then explain how this not only solves the puzzle of how music expresses moods but also helps us explain how we interact with musical moods. (shrink)

Jacques Rancière, Dissensus: Politika ve Estetik Üzerine adlı kitabında uzlaşımı (consensus) şiar edinen post-demokratik devletin, bireyin toplumun bir parçası olarak tanımladığını belirterek politikanın Platon’un Devlet diyaloğunda sunduğu polis’e indirgendiğini öne sürmektedir. Çözüm olarak politikanın, birey (tikel) ile toplum (tümel) arasındaki uyuşmazlığın (dissensus) teşhir edilmesi olarak yeniden düşünülmesini öneren Rancière, Platon’un bir tür an-arşi olarak gördüğü demokrasinin politikayı olanaklı kılması sayesinde aslında ‘daha iyi bir yaşamı’ (eu zen) vaat ettiğini öne sürer. Böylece, post-demokraside öznelliği uzlaşıma dayanan bir söylemde karışan bireyin sesi, (...) politika aracılığı ile yeniden duyulabilir ki Rancière buna duyulurun dağılımı (distribution of sensible) adını verir. Bu makalede, filozofun politika düşüncesinde, polis ile politika kavramları arasındaki ayrım tartışılacak ve bu minvalde, kendisinin uyuşmazlık kavramı çözümlenecektir. Son olarak, Rancière’in siyaset ile estetik arasında aísthêsis (duyumsama) kavramı üzerinden kurduğu bağlantı, kendisinin ‘estetik sanat rejimi’ terimi ile demokrasi yorumu arasında kurulacak benzerlikler üzerinden açıklanacaktır. Sonuçta, post-demokratik bir devlette yalnızca birer tüketici olarak tanımlanan bireye Rancière’in düşüncesinin sağlayabileceği alternatiferden biri örneklenmiş olacaktır. (shrink)

The Human Agenda is the first Special Edition of The Cambridge Journal of Law, Politics, and Art (CJLPA), an interdisciplinary journal founded at the University of Cambridge. Focused on the unique intersections of law, politics and art in the context of human rights, contributors to the Special Edition include David Baragwanath, Luis Moreno Ocampo, Nadia Murad, Nancy Hollander, Andrew Clapham, Vladimir Osechkin, Mansour al-Omari, and many others. A full table of contents is available through the publication's own page.

Liberal-minded basic income scholars often argue that UBI has two key properties that work together to justify it. Let us call these the freedom justification and the narrative justification. On the one hand, UBI is defended because it gives people more freedom to do what they want to do. (Stigler, 1946, Friedman, 1962; Van Parijs, 1995; Widerquist, 2013) They exhibit primary concern for the purely formal properties of the regime of liberal neutrality. On the other hand, many scholars, including many (...) of the same liberal scholars, argue that UBI also pushes society substantively towards desirable social outcomes. They combine the freedom justification with substantive predictions and expectations. (Rifkin, 1995; Murray, 2016; Weeks, 2020) However, I show that both existentialist philosophy (Sartre) and complexity theory (Knight, Hayek, Schumpeter) suggest that a liberal social order is compatible, at best, with rough pattern prediction about a multiply realizable future that remains narratively open to multiple possible trajectories. Liberal neutrality, to the extent that it nourishes radical freedom, is incompatible with strong, stable narrative predictions. As Nozick put, it “liberty upsets patterns”. This is true of all liberal UBI models, and liberal institutions in general. (shrink)

Il presente volume ibrida in modo originale il libro d’arte e il libro d’artista. I testi, ispirati da alcune parole presentate in forma aggettivale e pertanto più poetica e connotativa, non costituiscono un commento alle immagini create da Laura Pitingaro, ma sono chiavi interpretative che esplorano la varietà ambientale da prospettive culturali eterogenee (filosofiche, scientifiche, artistiche). Queste stesse parole costituiscono al contempo l’elemento seminale da cui germoglia la creatività immaginifica dell’artista. Da questa coesistenza e varietà di forme interpretative ed espressive (...) deriva la natura biodiversa del libro che trasforma concetti astratti in esperienze sensoriali, visive e linguistiche. Pertanto, il libro nasce con il proposito sperimentale di creare un mosaico di parole e immagini per una più profonda comprensione della biodiversità in chiave multidisciplinare e transdisciplinare. Tuttavia, il suo scopo va al di là della mera divulgazione di informazioni. Tra- smettendo non solo la conoscenza razionale, ma soprattutto la consapevolezza sensibile (dal greco aisthesis = sensazione) della biodiversità, questo libro d’arte aspira a suscitare emozioni, trasportando il lettore in un viaggio sensoriale attraverso cui idee e concetti complessi sono veicolati in modo accessibile e coinvolgente. Dunque, perché un libro d’arte per riflettere sull’ambiente? Perché è un’opera bella e preziosa come il suo contenuto, la biodiversità. (shrink)

Il presente volume ibrida in modo originale il libro d’arte e il libro d’artista. I testi, ispirati da alcune parole presentate in forma aggettivale e pertanto più poetica e connotativa, non costituiscono un commento alle immagini create da Laura Pitingaro, ma sono chiavi interpretative che esplorano la varietà ambientale da prospettive culturali eterogenee (filosofiche, scientifiche, artistiche). Queste stesse parole costituiscono al contempo l’elemento seminale da cui germoglia la creatività immaginifica dell’artista. Da questa coesistenza e varietà di forme interpretative ed espressive (...) deriva la natura biodiversa del libro che trasforma concetti astratti in esperienze sensoriali, visive e linguistiche. Pertanto, il libro nasce con il proposito sperimentale di creare un mosaico di parole e immagini per una più profonda comprensione della biodiversità in chiave multidisciplinare e transdisciplinare. Tuttavia, il suo scopo va al di là della mera divulgazione di informazioni. Tra- smettendo non solo la conoscenza razionale, ma soprattutto la consapevolezza sensibile (dal greco aisthesis = sensazione) della biodiversità, questo libro d’arte aspira a suscitare emozioni, trasportando il lettore in un viaggio sensoriale attraverso cui idee e concetti complessi sono veicolati in modo accessibile e coinvolgente. Dunque, perché un libro d’arte per riflettere sull’ambiente? Perché è un’opera bella e preziosa come il suo contenuto, la biodiversità. (shrink)

Meaning in literary texts such as poetry and novel etc., is not determined on the basis of a literal understanding of the words in it, but through a total evaluation of the devices such as metaphors and similes. This paper deals with metaphor to show its significance, to make us aware that metaphoric expressions do give a different kind of knowledge, and to pave the way to disclose a different kind of truth which is perhaps, more valuable than what the (...) literal sense provides. Ordinarily metaphorical use is taken for rhetorical purposes. Literalists of the Western and Indian philosophical traditions believe that it is only the literal or primary meaning that can give us a precise account of language. Metaphors are viewed by them as fuzzy, lies, not corresponding to actual states of affairs, non-propositional in character, not having truth-conditions, and thus not providing us with any knowledge or truth. However, this paper tries to work out the fundamentality of metaphor, how metaphor widens our experience of the world, and how it has the power to take us to an alternative world to introduce with some new truth by exploring certain notions of the Indian aestheticians. (shrink)

Despite numerous publications on the philosophy of technology, little attention has been paid to the relationship between being and value in technology, two aspects which are usually treated separately. This volume addresses this issue by drawing connections between the ontology of technology on the one hand and technology’s ethical and aesthetic significance on the other. -/- The book first considers what technology is and what kind of entities it produces. Then it examines the moral implications of technology. Finally, it explores (...) the connections between technology and the arts. (shrink)

ABSTRACT This paper criticizes interpreters who appeal to structural homologies in making claims about the meaning of (classical instrumental) music. Such appeals are prevalent in Marxist and post-Marxist musical aesthetics, where structural correspondences between music and society are accorded great significance, and their prevalence can be traced to Adorno’s use of (what this paper calls) “semantically ambitious homologies,” which can be traced to Freud’s use of them. I lay out this genealogy and argue that homology-based musical semantics, as it has (...) been customarily practiced, is a nonstarter. (shrink)

ABSTRACT The introduction provides an overview of the topic of the special issue, which is the relationship between art and capitalism. It includes summaries of the articles included in the issue and indicates possible areas for future research.

ABSTRACT In his essay, “Of the Nature of That Imitation Which Takes Place in What Are Called the Imitative Arts,” Adam Smith discusses two examples, topiary and false jewels, apparently coming to opposed conclusions: that aesthetic value is, and that it is not, independent of market value. I unpack the reasoning behind these conclusions, arguing that Smith’s position is consistent: he recognizes that aesthetic value can be occluded by market prices—as when one dismisses the beauty of something cheap out of (...) snobbery—or heightened by them, as in the case of the aesthetic value of magnificence. Because aesthetic value can thus be heightened or corrupted by market value on Smith’s analysis, I suggest, speculatively, that for Smith the bad influence of economic considerations in aesthetic matters (faulty snobbery or an economically-derived corruption of taste) is identified by reference to moral, not purely aesthetic criteria. (shrink)

ABSTRACT Generative artificial intelligence is transforming the way we make, and think about, art. With prompting from human users, these generative systems now produce aesthetically compelling and seemingly creative works in a variety of artistic domains. In doing so, they challenge the ways we think about artistic credit, about creativity, and about the mechanism of legal copyright, which is meant to protect and promote creativity in a capitalist art market. All of this is currently at play in the courtroom, as (...) artists contest the ways in which their artworks can be rightfully fed into these artificial systems (“the problem of the inputs”), and other artists are challenged over whether they might be credited for the visual images these systems generate (“the problem of the outputs”). Here, we explore these problems as they arise in visual art. We argue that the contested legal landscape surrounding these artificial systems reflects the ways they challenge our received notions of artistic credit and creativity. And we suggest that clarifying or changing the application of copyright in light of their generative capacities will ultimately involve revising our conception of art. (shrink)