No matter how unintuitive it might seem that aesthetic pleasure should be the point where art and morality meet, this is a noteworthy possibility that has been overshadowed by aestheticians’ more visible concerns. Here I briefly survey relevant strands in the literature over the past century, before introducing themes covered in this inaugural issue of Australasian Philosophical Review.

Behaviour, including criminal behaviour, takes place in lived contexts of embodied action and experience. The way in which abstract models of selfhood efface the individual as a unique, living being is a central aspect of the ‘ethical-other’ debate; if an individual is modelled as abstracted from this ‘living’ context, that individual cannot be properly or meaningfully linked with his or her behaviour, and thus cannot justly be understood as responsible. The dominant rational choice models of criminal identity in legal theory (...) involve at least a partial abstraction of this ‘unethical’ type by prioritising the rational will over the more fluid dimensions of lived reality. From a phenomenological perspective, an approach of ‘restlessness’ is proposed which precludes the development of settled or general abstract categories, and can thus move us closer to an ethical understanding of living individuals on a theoretical level. Although such a move may initially seem to threaten criminal justice with an irrational nihilism, by maintaining awareness of the irreducibility of ‘living’ reality a restless theoretical understanding of moral selfhood may be able to shape or underpin the attribution of responsibility in more practical or substantive contexts without succumbing to meaninglessness. (shrink)

ABSTRACTThis article attempts to construct a distinct formulation of the sublime via an inspection of some of Jacques Derrida's principal works. Through a reading of his assessment of Kantian sublimity and a development of the dialectical from deconstruction, two patterns of the sublime can be formulated. These two constructed patterns of the sublime, which I shall name “sublime of différance” and “aporetic sublime,” are predicated on the notions of infinity and dialecticism. The aporetic sublime includes in its constitutive structure the (...) element of an orientation to an irreducible other. It is argued in the article that these constructions are open to an incorporation of the sublime as located beyond subjectivity and discourse. (shrink)

Overview essay of the field of feminist aesthetics updated Winter, 2021.

This thesis interrogates Nietzsche's ubermensch, a figure capable of overcoming the universal absence of value, and asks how it might logically be realised in light of postmodern developments in nihilism, capitalism and technology. We argue that in order to exist beyond the nihilistic nature of capitalism, one possible solution might be superintelligent artificial intelligence. We first explore the oft-overlooked problem of the village atheist, who rejects god whilst still clinging to theological values. We next look to nihilism in postmodemity, analysing (...) semiotic and hermeneutic developments and highlighting the forces that dictate contemporary society. We then tum to capitalism, understood as a repetition of Christianity, redefining the village atheist as a figure trapped in the nihilism of semiocapitalism. Finally, we tum to technology and the future, where we reject transhuman narratives as farther repetitions of salvation, instead developing an understanding of superintelligent AI as ubermensch based on its potential to exist beyond the trappings of manmade value. This thesis simultaneously outlines the difficulties of overcoming nihilism through transhumanism whilst highlighting the dangers of embracing ubermensch, instead suggesting that a reclamation of the human posits greater grounds for survival, where the embrace of a hermeneutics of nihilism allows for smaller short-term truths. (shrink)