Journal of Aesthetics and Phenomenology

ISSNs: 2053-9320, 2053-9339

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  1.  16
    Hedwig Conrad-Martius on Color, Light, and the Irreality of the Artwork.Irene Breuer - 2023 - Journal of Aesthetics and Phenomenology 10 (2):161-177.
    In her article “Die Irrealität des Kunstwerkes,” first published in 1938, Hedwig Conrad-Martius delves into the question of the artistic representation of the real reality of the world, which basically concerns the classical distinction between art and nature. It is in this context that Conrad-Martius rejects idealism and the concomitant assumption that an artwork imitates the “living reality” of Nature. She clearly distinguishes between the task of phenomenology and that of art: while phenomenology should surpass the sphere of mere sensuous (...)
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  2.  15
    Consummate Phenomena: Oskar Becker’s “Hyperontological” Aesthetics.Benjamin Brewer - 2023 - Journal of Aesthetics and Phenomenology 10 (2):179-193.
    This essay reconstructs Oskar Becker’s idiosyncratic conception of aesthetics and its importance for phenomenology. For Becker, the aesthetic is not simply one type of phenomenon among others; rather, it occupies a privileged position as, first, that phenomenon which is itself “wholly phenomenal,” and, second, that phenomenon which discloses the ontological structure of phenomenality itself (and is thus what he calls “hyperontological”). The paper first reconstructs Becker’s descriptive phenomenology of the aesthetic (which he restricts to the realm of masterpieces of fine (...)
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  3.  35
    The Layers of Aesthetic Experience. A Comparison between Fritz Kaufmann and Ernst Cassirer.Antonucci Elio - 2023 - Journal of Aesthetics and Phenomenology 10 (2):195-210.
    The article compares Fritz Kaufmann and Ernst Cassirer’s conceptions of aesthetics, focusing in particular on their characterisation of the experience of apprehension of art objects. Firstly, analysing Kaufmann’s early investigation of the experience of the reception of art images and Cassirer’s observations on art as a symbolic form, it argues that the two philosophers conceptualise the reception of art objects in a similar way, as an experience structured across different layers of meaning constitution that are based on specific functions of (...)
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  4.  14
    Phenomenology as an Abortive Science of Art: Two Contexts of Early Phenomenological Aesthetics ( Allgemeine Kunstwissenschaft and GAChN).Patrick Flack - 2023 - Journal of Aesthetics and Phenomenology 10 (2):109-125.
    This article critically examines the usual characterisation of aesthetics as a fragmented, marginal or secondary field within phenomenology. The author argues in particular that phenomenological aesthetics was consciously and systematically articulated as an explicit programme in at least two distinct contexts of early phenomenology: the international project to establish a general science of art known as the Allgemeine Kunstwissenschaft, and the Soviet State Academy of Art Studies (GAChN). The article explores the impact of these institutions on the development of early (...)
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  5.  26
    Aesthetic Experience and Empathy in Vasily Sesemann’s Phenomenological Aesthetics.Dalius Jonkus - 2023 - Journal of Aesthetics and Phenomenology 10 (2):211-225.
    Vasily Sesemann’s aesthetics is a transcendental philosophy that seeks to answer the question of how an experience of beauty is possible. Sesemann insists that aesthetics should focus on the study of the aesthetic object itself, and through it go to the problematics of the act of perception and creativity. Sesemann states that not only the relationship between the work of art and the perceiver is important in order to understand the aesthetic object, but also the relationship between the work of (...)
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  6.  20
    Editor’s Introduction: Rediscovering Early Phenomenological Aesthetics.Harri Mäcklin - 2023 - Journal of Aesthetics and Phenomenology 10 (2):95-108.
    Recent years have witnessed a surge of interest in the early phases of the phenomenological movement. However, early phenomenological aesthetics has so far received very little attention in the current “Renaissance” of early phenomenology, albeit that the early phenomenologists made significant contributions to aesthetics and even argued for a special affinity between aesthetics and phenomenology. They also took part in the exceptionally lively debates of early 20th-century German aesthetics, which in general has remained all too underappreciated in today’s research. This (...)
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  7.  20
    “Quite Artificial, Awkward, and Unnecessarily Neologistic”: Early Phenomenology and Psychology Arguing About the Fundamentals of Aesthetics.Thomas Petraschka - 2023 - Journal of Aesthetics and Phenomenology 10 (2):127-141.
    As phenomenology rose to prominence at the beginning of the 20th century, several aestheticians tried to establish the Husserlian method of “phenomenological reduction” in the field of aesthetics. These ventures were met with resistance from psychological aesthetics, which was the predominant form of aesthetics in the German-speaking world at the time. This paper examines, first, practical attempts to apply the method of “phenomenological reduction” in aesthetics. Using Waldemar Conrad and Moritz Geiger as examples, I try to trace what aestheticians actually (...)
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  8.  24
    (1 other version)The Phenomenology of Aesthetic Consciousness and Phantasy: Working with Husserl The Phenomenology of Aesthetic Consciousness and Phantasy: Working with Husserl, by Paul Crowther, New York and London, Routledge, 2022, 188 pp., GBP 104 (hardback), ISBN 9781032079462. [REVIEW]Fotini Vassiliou - 2023 - Journal of Aesthetics and Phenomenology 10 (2):227-231.
    In The Phenomenology of Aesthetic Consciousness and Phantasy: Working with Husserl, Paul Crowther undertakes the challenging task of presenting the intricate nuances of Husserl’s aesthetic theory i...
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  9.  8
    (1 other version)The Phenomenology of Aesthetic Consciousness and Phantasy: Working with Husserl.Fotini Vassiliou - 2023 - Journal of Aesthetics and Phenomenology 10 (2):227-231.
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  10.  46
    Art, Affectivity, and Aesthetic Value: Geiger on the Role of Emotions in Aesthetic Appreciation.Íngrid Vendrell Ferran - 2023 - Journal of Aesthetics and Phenomenology 10 (2):143 - 159.
    This paper explores Moritz Geiger’s work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger’s phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though Geiger also makes important concessions (...)
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  11.  19
    Appropriating the Neoliberal City: Populism, Post-Transcendental Phenomenology, and the Problematic of the “World”.Sebastiaan Bierema - 2023 - Journal of Aesthetics and Phenomenology 10 (1):67-87.
    ABSTRACT In the work of Ernesto Laclau, populism is treated as a hegemonic challenge. Hegemony describes the usurpation of the image of society as a totality by a particular and underdetermined social imaginary. Seen through the lens of what Johann P. Arnason terms “post-transcendental phenomenology”, this concerns the way in which a society sees and experiences both itself and the world it inhabits. This article suggests that hegemonic social imaginaries are built into a society’s public spaces, and are in turn (...)
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  12.  20
    Seeing Serially: Harman’s Object-Oriented Ontology Encountering Serial Drawing.Joe Graham - 2023 - Journal of Aesthetics and Phenomenology 10 (1):1-16.
    ABSTRACT Graham Harman’s Object-Oriented Ontology prioritises aesthetics as first philosophy, and finds increasing interest from those working across art, architecture and the humanities in general. This article tests the application of Harman’s ideas by applying them to a thorny issue related to the domain of serial art, and serially developed drawing in particular. The issue concerns the productive role of the beholder in constituting the serial artwork as a unified thing, wherein it appears manifestly deeper than the sum of its (...)
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  13.  16
    Witty Winds: Japanese Contributions to a Phenomenology of Laughter and Irony.Lorenzo Marinucci - 2023 - Journal of Aesthetics and Phenomenology 10 (1):49-65.
    ABSTRACT This paper explores philosophically the experiences of laughter and irony, focusing on Japanese sources but with a cross-cultural outlook. I ask whether globally unfavorable attitudes towards the comic in the European canon might have left unexplored or misunderstood several insights offered by the bodily and spiritual dimension revealed by laughter, and examine them through Japanese sources. Following a short but poignant triad of examples in Kuki Shūzō’s work, the paper analyses three instances of Japanese laughter and irony: the orgiastic (...)
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  14.  22
    Who Am I and Who Are You?: Gadamer on Celan’s Dialogical Poetry.Arup Jyoti Sarma - 2023 - Journal of Aesthetics and Phenomenology 10 (1):33-48.
    ABSTRACT In this essay, I shall discuss Gadamer’s interpretation of Celan’s dialogical poetry in his essay “Wer bin Ich und wer bist Du?” (“Who am I and Who are You?”). One may argue that this is Gadamer’s articulation of the problem of the self-other relationship. To understand the question of self and other, it is first of all necessary to return to the poetic word from which the question arises. Speaking is, for Gadamer, the most profoundly self-forgetful action, because when (...)
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  15.  18
    The Strife of World and Earth as an Articulation of the Ontological Difference.Michael Thatcher - 2023 - Journal of Aesthetics and Phenomenology 10 (1):17-31.
    ABSTRACT In a passage from the addendum to “The Origin of the Work of Art” often ignored in the secondary literature, Heidegger expands on how art institutes the unconcealment of the truth of Being with reference to the ontological difference—the difference between Being and beings which cannot rely on the comparison of predicates for clarification. The relationship between art and the ontological difference is not immediately obvious and lacks further explication in Heidegger’s other texts. This paper argues that there are (...)
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  16.  21
    Philosophy and the Art of Writing: Review of Richard Shusterman’s Routledge, 2022, 142 pages. ISBN 9780367354909. [REVIEW]Uku Tooming - 2023 - Journal of Aesthetics and Phenomenology 10 (1):89-93.
    As the editors of the series, New Literary Theory, proclaim in the preface of the book, the purpose of the series is to make more room in literary theory for playful and accessible approaches to li...
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  17.  18
    Compression and Noise.M. Curtis Allen - 2023 - Journal of Aesthetics and Phenomenology 9 (2):101-117.
    This essay elaborates the nature and consequences of compression and noise, understood as interdependent phenomena determining current aesthetic regimes and modes of perception in the “cognitive co...
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  18.  20
    The Aesthetics of Human-Machine Interaction: Generative Textuality in Hello Games’s No Man’s Sky.Justin Carpenter - 2023 - Journal of Aesthetics and Phenomenology 9 (2):173-190.
    Generative art theory involves any artistic practice where an artist uses external systems (rules, algorithms, organic processes) to complete an artwork. Commonly utilized in video game design, gen...
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  19.  17
    Topographic Algorithms: Reimagining Environmental Sensing and Representation.Richard A. Carter - 2023 - Journal of Aesthetics and Phenomenology 9 (2):227-244.
    The task of negotiating present ecological breakdowns is entangled crucially with the logistics of managing a globally distributed observing infrastructure. Composed of sensors aboard orbiting sate...
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  20.  39
    Prediction Promises: Towards a Metaphorology of Artificial Intelligence.Leonie A. Möck - 2023 - Journal of Aesthetics and Phenomenology 9 (2):119-139.
    1. Artificial Intelligence is an ambiguous umbrella term. Until today there is no uniform definition of AI and the term carries several meanings. As exemplary, I will give two definitions of AI tha...
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  21.  82
    Creative Agents: Rethinking Agency and Creativity in Human and Artificial Systems.Caterina Moruzzi - 2023 - Journal of Aesthetics and Phenomenology 9 (2):245-268.
    1. In the last decade, technological systems based on Artificial Intelligence (AI) architectures entered our lives at an increasingly fast pace. Virtual assistants facilitate our daily tasks, recom...
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  22.  25
    Data as Expression.Jaana Okulov - 2023 - Journal of Aesthetics and Phenomenology 9 (2):191-207.
    1 The question of expression is essential for artistic practices; it designates how a material is articulated through sculptural gestures, how a musical idea is shaped by the dancer’s movements, an...
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  23.  78
    Future Imaginings in Art and Artificial Intelligence.Andreia Machado Oliveira - 2023 - Journal of Aesthetics and Phenomenology 9 (2):209-225.
    1234Coming from the current context permeated by technological systems of Artificial Intelligence (AI), we discern a growing and recurring concern for the future, for its images and imaginaries, wh...
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  24.  22
    The Event/Machine of Neural Machine Translation?Arnaud Regnauld - 2023 - Journal of Aesthetics and Phenomenology 9 (2):141-154.
    … the new figure of an event-machine would no longer be even a figure. It would not resemble, it would resemble nothing, not even what we call, in a still familiar way, a monster. But it would ther...
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  25.  28
    Theoretical and Practical Paralogisms of Digital Immortality.Joel White - 2023 - Journal of Aesthetics and Phenomenology 9 (2):155-172.
    Modern and contemporary transhumanism (distinct from posthumanism, see endnote i) is a philosophical movement that seeks the enhancement of the human body and mind though technological means.1 Its...
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  26.  33
    What Is the Object of Art?Andrew Benjamin - 2023 - Journal of Aesthetics and Phenomenology 9 (1):1-15.
    The aim of this paper is establish the difference between aesthetics and the philosophy of art. Part of the argument is that only a philosophy of art can give an adequate philosophical account of works of art. The argument is advanced drawing on the writings of Immanuel Kant and Gunter Figal.
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  27.  36
    The “Social” in the Social Turn: Empathy, Bias, and Participatory Art.Harry Drummond - 2023 - Journal of Aesthetics and Phenomenology 9 (1):65-81.
    Aesthetics and social cognition are two disciplines rarely merged, despite the penetration of artworks into social, moral, and political concerns. In particular, participatory artworks involve direct social interaction and perception, and are more often than not motivated by, and aim towards, ethico-political ends. In the following, I fuse considerations aesthetic with considerations intersubjective, arguing that participatory artworks engage and exploit empathy’s biased character towards a recalibration of our social relationships, namely inclusion and exclusion. Although critics of empathy suggest that its (...)
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  28.  22
    Terror at the Heart of Sleep – Night Terrors, Nancy, and Phenomenology.Patrick Simon Moffett Levy - 2023 - Journal of Aesthetics and Phenomenology 9 (1):47-63.
    Sleep is soothing, silent, and serene, until it is not. Sleep is often troubled, disturbed, or even “disordered” as the medical literature describes it. This paper begins from an extreme form of such disturbance—terrified sleep. Night terrors (pavor nocturnus), in which sleep is violently interrupted, offer important insights into sleep and the methods by which it is studied. The sanitising nature of the medical classification of night terrors as part of a continuum with sleepwalking and yet strikingly distinct from nightmares, (...)
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  29.  16
    Touch: Recovering our Most Vital Sense.John P. Manoussakis - 2023 - Journal of Aesthetics and Phenomenology 9 (1):83-85.
    As I sat down to sketch this review of Richard Kearney’s new book on touch, I happened to have received just then in the post a record I had ordered some time ago. It was an album by the French gro...
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  30.  25
    Seeing The Gardener Vallier: Cézanne and Merleau-Ponty’s Aesthetics of Doubt.Shin Young Park - 2023 - Journal of Aesthetics and Phenomenology 9 (1):17-29.
    This article looks closely at one of Paul Cézanne’s portraits of Vallier painted the last year of his life to examine how his (“fugitive”) vision works through his use of colors. The French philosopher Maurice Merleau-Ponty, who in his phenomenology views the body as the primary locus of having and therefore knowing the world, emphasizes the vital role of the body of the artist that must be offered to the world in order to truly manifest the world in painting. It (...)
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  31.  26
    Eros and Sensation: Art and Aesthetics in Emmanuel Levinas’s Prison Notebooks.Jussi Pentikäinen - 2023 - Journal of Aesthetics and Phenomenology 9 (1):31-45.
    The release of Emmanuel Levinas’s Prison Notebooks (Carnets de captivité) as a part of the first tome of his collected works has further illuminated the extent of the philosopher’s preoccupation with art, especially literature. Levinas’s own literary efforts have been well documented, but less attention has been paid to the relationship between the Prison Notebooks and Levinas’s early philosophy of art. In this article, I suggest that much of what Levinas has to say apropos art in his early philosophy can (...)
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