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  1.  52
    Evolution and Aesthetics.Evental Aesthetics - 2015 - Evental Aesthetics 4 (2):1-170.
    Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...)
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  2.  21
    Collision. Bass Pro Shops, Environmental Thought, and the Animatronic Dead.Christina M. Colvin - 2015 - Evental Aesthetics 4 (2):105-115.
    This essay collides with the aesthetic of wilderness cultivated by the North American retail chain Bass Pro Shops. Through elaborate displays and décor that render each store part rustic lodge, aquarium, amusement park, natural history museum, and hunting simulator, the stores represent the natural world and its inhabitants as abundant resources for human consumption. The stores’ aesthetic is primarily wrought through the arrangement of taxidermied animals. These animals include both traditional wildlife mounts posed in lifelike attitudes as well as animatronic (...)
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  3.  29
    How Ancient is Art?Stephen Davies - 2015 - Evental Aesthetics 4 (2):22-45.
    In this paper I suggest that music and dance of an artful kind could pre-date the emergence of our species by several hundred thousand years. Our progenitor, H. heidelbergensis, had the necessary physiological resources and social capacities. And she inherited older modes of moving and vocalizing that could have laid the foundations for dance and music. Admittedly, for her, these artistic activities would have been more about sharing and expressing emotions than about symbolizing abstract ideas or conveying complex thoughts. But (...)
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  4.  25
    A Machine’s First Glimpse in Time and Space.Trevor Mowchun - 2015 - Evental Aesthetics 4 (2):77-102.
    The primary objective of this two-part essay is to theorize the relationships between religious disenchantment, the autonomy of art, and the phenomenon of contingency. These connections are held to be vital for an understanding of modern aesthetics in general, and the possibility is put forth that they come to a head in the most modern of all the arts: cinema. In the first part, an account of the contemporary rift between the immanence of art and the transcendence of the divine (...)
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  5. Can We Wrong a Work of Art?Eoin O'Connell - 2015 - Evental Aesthetics 4 (2):116-137.
    If we can wrong a work of art, then it has moral status. This paper considers two examples of putative wrongings of works of art, but in both cases, the claim that the work of art itself is wronged cannot be vindicated. The sense that a work of art has been wronged arises when that work has a special meaning for us or has a special standing in a cultural context. There is nothing intrinsic to works of art that can (...)
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  6.  26
    Can We Wrong a Work of Art?Eoin O’Connell - 2015 - Evental Aesthetics 4 (2):116-137.
    If we can wrong a work of art, then it has moral status. This paper considers two examples of putative wrongings of works of art, but in both cases, the claim that the work of art itself is wronged cannot be vindicated. The sense that a work of art has been wronged arises when that work has a special meaning for us or has a special standing in a cultural context. There is nothing intrinsic to works of art that can (...)
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  7.  18
    Tastes of the Parents: Epigenetics and its Role in Evolutionary Aesthetics.Mariagrazia Portera & Mauro Mandrioli - 2015 - Evental Aesthetics 4 (2):46-76.
    Evolutionary Aesthetics is a bourgeoning and thriving sub-field of Aesthetics, the main aim of which is “the importation of aesthetics into natural sciences, and especially its integration into the heuristic of Darwin’s evolutionary theory.” Scholars working in the field attempt to determine through the adoption of an interdisciplinary research methodology whether and to what extent Darwinian evolution can shed light on our capacity to have aesthetic experiences, make aesthetic judgments, and produce literary, visual, musical artworks. Notwithstanding Evolutionary Aesthetics’ growing popularity (...)
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  8.  26
    On Technological Ground: The Art of Torsten Lauschmann.Dominic Smith - 2015 - Evental Aesthetics 4 (2):138-170.
    This essay considers the relationship between the work of contemporary artist Torsten Lauschmann and themes in a growing area of research: philosophy of technology. Themes considered include relations between technology and contemporary urban dwelling, technology and the “everyday,” and Heidegger’s problematic but canonical understanding of technology not as a set of “mere means” but as a “way of revealing.” I argue that Lauschmann’s art renders these themes relevant for our increasingly technologically mediated forms of everyday experience by engaging in a (...)
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  9.  18
    Editorial. Evolution and Aesthetics.Mandy-Suzanne Wong - 2015 - Evental Aesthetics 4 (2):4-21.
    Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...)
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  10.  21
    Evental Aesthetics: Retropective 1.Evental Aesthetics - 2015 - Evental Aesthetics 4 (1):1-116.
    EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.
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  11.  16
    Encounters with an Art-Thing.Jane Bennett - 2015 - Evental Aesthetics 4 (1):71-87.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s (...)
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  12.  24
    Collision: A Collision of Gargoyles.S. D. Chrostowska - 2015 - Evental Aesthetics 4 (1):32-41.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This article addresses the aesthetic status of gargoyles in medieval Gothic architecture. Irreducible to the grotesque yet manifestly discrepant with the core of cathedral and monastic buildings, the gargoyle serves as an entry point for an exploration of the stylistic relations comprising the Gothic and reflecting the cultural duality of the ecclesiastic sites of its historical emergence. The relation between gargoyles and the bulk of Gothic structures (...)
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  13.  25
    Collision: The Puzzle of Chardin.Jane Forsey - 2015 - Evental Aesthetics 4 (1):88-95.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This paper addresses problems in the interpretation of Chardin’s still life paintings, which are disconcerting because they are so out of step with those of his contemporaries. It is suggested that, with the application of Kantian aesthetics, Chardin can be best understood as representing things in themselves as well as the limits of language and understanding.
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  14.  14
    Autopoietic Art Systems and Aesthetic Swarms: Notes on Polyphonic Purity and Algorithmic Emergence.Jason Hoelscher - 2015 - Evental Aesthetics 4 (1):42-62.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This paper proposes a prolegomenal model for the mechanisms through which new styles and schools of art – Cubism or conceptual art, for example – undergo the catalytic, evental transition from potential to actual. The model proposed herein, of fine art as a complex adaptive system that emerges and grows in a manner analogous to that of certain specific forms of biological organization, is predicated on a (...)
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  15.  14
    Hegel’s Magical Thinking.Angela Hume - 2015 - Evental Aesthetics 4 (1):8-31.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. In this article I ask: how to rescue “magical thinking” in and from Hegel and imagine its possibilities for posthuman society, ethics, and aesthetics? To address this question, I read Hegel’s Phenomenology of Spirit through Horkheimer and Adorno, who argue that Enlightenment’s program is “the disenchantment of the world”: with the end of magical thinking and the beginning of enlightened thinking came chasm and disparity between subject (...)
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  16.  13
    Collision: Poverty/Line: Aesthetic and Political Subjects in Santiago Sierra’s “Line” Photographs.David W. Janzen - 2015 - Evental Aesthetics 4 (1):63-70.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This Collision examines photographs of Santiago Sierra’s “Line” installations, discovering in these works a unique formulation of the tension between the social and formal aspects of contemporary art. Developing the philosophical implications of this formulation, this essay connects divergent trajectories embodied by the work to divergent trajectories in contemporary aesthetic theory. Developing the socio-political approach, I draw on recent work by Claire Bishop who, emphasizing the distinction (...)
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  17.  14
    “One Must Imagine What One Denies”: How Sartre Imagines the Imaginary.Sarah Marshall - 2015 - Evental Aesthetics 4 (1):96-116.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This essay is a defense of Jean-Paul Sartre’s The Imaginary as a text which changes the direction of philosophical thinking regarding the image. Historically depreciated as a mere “copy” or “appearance” of a “reality” grasped through perception, the image is reconceived in Sartre’s text, which culminates in a revaluation of imagination as the condition of possibility for a human consciousness that always already transcends its situation towards (...)
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  18.  16
    Retropective 1: Introduction.Mandy-Suzanne Wong - 2015 - Evental Aesthetics 4 (1):4-7.
    EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.
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  19.  21
    Vital Materialism.Evental Aesthetics - 2015 - Evental Aesthetics 3 (3):1-110.
    In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.
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  20.  31
    Encounters with an Art-Thing.Jane Bennett - 2015 - Evental Aesthetics 3 (3):91-110.
    What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...)
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  21.  14
    Rearticulating Languages of Art: Dancing with Goodman.Joshua M. Hall - 2015 - Evental Aesthetics 3 (3):28-53.
    In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of dance’s relationship to (...)
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  22.  12
    Kantian Excentricities.Ryan Johnson - 2015 - Evental Aesthetics 3 (3):54-77.
    Perhaps one of the most troubling passages in all three of Kant’s Critiques is a short, confusing passage in which Kant claims that a judgment of taste must precede the feeling of pleasure. Many interpreters have argued that such a claim necessitates a viciously circular argument. But this circularity might not be vicious at all. In fact, this revolving shape actually leads to the most important site of the entire Analytic: the logic of the “without” as in the famous “purposiveness (...)
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  23.  12
    Collision: A Cameo of Frances Pelton-Jones: For Her, for Jane Bennett.Eric Lubarsky - 2015 - Evental Aesthetics 3 (3):80-90.
    This essay sketches the musical art of Frances Pelton-Jones, an American harpsichordist active at the beginning of the twentieth century. Almost entirely unknown today, she was widely acclaimed in her day for performing elaborate costume recitals dressed as Marie Antoinette. More than just a recitalist in costume, Pelton-Jones staged elaborate tableaux vivants with environmental decor to elicit fantasies of the past. Bridging the worlds of fashion, environmental design, and music, her performances offer a compelling case study to investigate the aesthetic (...)
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  24.  11
    Collision: The Pleasure of Reading: Playing Games with Time in Tristram Shandy.Adam Schipper - 2015 - Evental Aesthetics 3 (3):18-27.
    The aesthetic experience of Laurence Sterne’s The Life and Opinion of Tristram Shandy, Gentleman is not reducible to an interpretation of plot or a linear critical analysis on the level of structure. Instead, it is thematized around a particular paradox of “double chronology” of autobiography, which continues the unfolding of the text yet simultaneously disrupts it. As such, Tristram Shandy’s lack of plot is a secondary phenomenon to the textual game of detour and digression it plays. This essay is less (...)
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  25.  16
    Introductory Editorial: Towards a Vital Materialist Aesthetics.Mandy-Suzanne Wong - 2015 - Evental Aesthetics 3 (3):4-16.
    In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.
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