Why is aesthetic experience of nature important in our everyday lives? This will be my main question. After defining the meaning of 'imagination' and 'aesthetic nature' in the context of Seel's thought, I will reflect on two aspects of this question. Firstly, I will focus on the function of imagination within our aesthetic experience of nature. Secondly, I will expose some ethical implications of the aesthetic approach to nature. My conclusion will emphasize the importance of aesthetic imagination for our personal (...) and collective behaviour towards nature. (shrink)

Souvenirs play an important role in tourism development. They act not only as mementos, enabling tourists to relive and retain the memory of a particular journey, but also as main income sources for tourism destinations and stakeholders. Many intangible cultural heritages have been developed into souvenirs, especially products made by traditional craftsmanship. ICH souvenirs facilitate cultural value that is understandable to tourists, who appreciate the design of the ICH souvenirs and their contributions to a pleasure and memorable journey. Based on (...) the theory of beauty and the preference-for-prototypes theory, this study explored how symmetry design of ICH souvenirs influences tourist’s aesthetic pleasure. As ICH souvenirs development is a commercialization process, and over-commodification would lead to cultures being lost and tourists’ disappointment, the authenticity concept is applied in order to address over-commodification. Thus, this study analyzed the moderating role of tourists’ authenticity perception of ICH souvenirs. Two lab-based between-subjects design experiments were employed to test the proposed hypotheses. Data analysis entailed multiple regression analysis, one-way ANOVA, and two-way ANOVA. The findings showed that symmetry of ICH souvenir design had a positive impact on tourists’ aesthetic pleasure. Under the symmetric-design condition, tourists’ typicality perception of ICH souvenirs positively mediated the main relationship, while under the asymmetric-design condition, tourists’ novelty perception had a negative mediating effect. The moderated mediation effects were in accord with hypotheses to some extent; at a relatively high level of authenticity perception, the indirect effect of symmetry on aesthetic pleasure via typicality perception increased as authenticity perception rose; at a relatively low level of authenticity perception, the indirect effect of symmetry on aesthetic pleasure via novelty perception declined as authenticity perception rose. This study identified critical factors influencing tourists’ aesthetic pleasure with ICH souvenirs, and it revealed the internal influencing mechanisms and moderating effects under different design conditions. These findings give some insights to ICH practitioners for using souvenir design to improve tourists’ aesthetic pleasure. (shrink)

The first study of its kind, The Impact of Idealism assesses the impact of classical German philosophy on science, religion and culture. This third volume explores German Idealism's impact on the literature, art and aesthetics of the last two centuries. Each essay focuses on the legacy of an idea or concept from the high point of German philosophy around 1800, tracing out its influence on the intervening period and its importance for contemporary discussions. As well as a (...) broad geographical and historical range, including Greek tragedy, George Eliot, Thomas Mann and Samuel Beckett, and key musicians and artists such as Wagner, Andy Warhol and Frank Lloyd Wright, the volume's thematic focus is broad. Engaging closely with the key aesthetic texts of German Idealism, this collection uses examples from literature, music, art, architecture and museum studies to demonstrate Idealism's continuing influence. (shrink)

I suspect that feminism in general has had an impact on philosophy at large that is seldom explicitly recognized as such, insofar as it has prompted the field to consider topics that previously were only scantily recognized for their philosophical interest.

Ewa Ziarek fully articulates a feminist aesthetics, focusing on the struggle for freedom in women's literary and political modernism and the devastating impact of racist violence and sexism. She examines the contradiction between women's transformative literary and political practices and the oppressive realities of racist violence and sexism, and she situates these tensions within the entrenched opposition between revolt and melancholia in studies of modernity and within the friction between material injuries and experimental aesthetic forms. Ziarek's political and aesthetic (...) investigations concern the exclusion and destruction of women in politics and literary production and the transformation of this oppression into the inaugural possibilities of writing and action. Her study is one of the first to combine an in-depth engagement with philosophical aesthetics, especially the work of Theodor W. Adorno, with women's literary modernism, particularly the writing of Virginia Woolf and Nella Larsen, along with feminist theories on the politics of race and gender. By bringing seemingly apolitical, gender-neutral debates about modernism's experimental forms together with an analysis of violence and destroyed materialities, Ziarek challenges both the anti-aesthetic subordination of modern literature to its political uses and the appreciation of art's emancipatory potential at the expense of feminist and anti-racist political struggles. (shrink)

Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...) is the intellectual air to Kant's understanding of the mental processes required for the appreciation of beauty as 'conforming to law without a law'. (shrink)

Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The 'everything change', as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the 'scientific' approaches to nature appreciation which base aesthetic judgment on scientific knowledge and the competing (...) 'non-scientific' approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

The Aesthetics of Human Environments is a companion volume to Carlson's and Berleant's The Aesthetics of Natural Environments. Whereas the earlier collection focused on the aesthetic appreciation of nature, The Aesthetics of Human Environments investigates philosophical and aesthetics issues that arise from our engagement with human environments ranging from rural landscapes to urban cityscapes. Our experience of public spaces such as shopping centers, theme parks, and gardens as well as the impact of our personal living spaces on the routine (...) activities of our everyday life are discussed in terms of their aesthetic value and the nature of our aesthetic appreciation. This volume will appeal to any reader concerned about the aesthetic quality of the world in which we live. (shrink)

This essay explores how early approaches in feminist aesthetics drew on concepts honed in the field of feminist legal theory, especially conceptions of oppression and equality. I argue that by importing these feminist legal concepts, many early feminist accounts of how art is political depended largely on a distinctly liberal version of politics. I offer a critique of liberal feminist aesthetics, indicating ways recent work in the field also turns toward critical feminist aesthetics as an alternative.

There had been interesting interactions between philosophical reflections, technical developments and the work of artists, poets and designers, starting especially in the 1950s and 1960s with a stimulating cell in Stuttgart and Ulm in Germany spreading mutual international interactions. The paper aims to describe the philosophical background of Max Bense with his research on the intellectual history of mathematics and the upcoming studies on technology and cybernetics. Together with communication theories and semiotics, new aesthetics such as cybernetic aesthetics had been (...) worked out, based on the notions of information and sign. This background stimulated international students, artists and researchers from different creative disciplines for methodical approaches leading to first computer art experiments. The interrelations in these fields with Latin America are in the focus of these studies. Students, artists, and poets from Latin America, especially Brazil, came to Germany for studies and exhibitions in the creative scientific cell around Max Bense. Some of them stayed in Europe, but the exchange developed also in the opposite direction, traveling to and working in Latin America. Some of those fruitful international interrelations will be described and reflected. (shrink)

: This essay explores how early approaches in feminist aesthetics drew on concepts honed in the field of feminist legal theory, especially conceptions of oppression and equality. I argue that by importing these feminist legal concepts, many early feminist accounts of how art is political depended largely on a distinctly liberal version of politics. I offer a critique of liberal feminist aesthetics, indicating ways recent work in the field also turns toward critical feminist aesthetics as an alternative.

Interest in sensory atmospheres and architectural and urban ambiances has been growing for over 30 years. A key figure in this field is acclaimed German philosopher Gernot Böhme whose influential conception of what atmospheres are and how they function has been only partially available to the English-speaking public. This translation of key essays along with an original introduction charts the development of Gernot Böhme's philosophy of atmospheres and how it can be applied in various contexts such as scenography, commodity aesthetics, (...) advertising, architecture, design, and art. The phenomenological analysis of atmospheres has proved very fruitful and its most important, and successful, application has been within aesthetics. The material background of this success may be seen in the ubiquitous aestheticization of our lifeworld, or from another perspective, of the staging of everything, every event and performance. The theory of atmospheres becoming an aesthetic theory thus reveals the theatrical, not to say manipulative, character of politics, commerce, of the event-society. But, taken as a positive theory of certain phenomena, it offers new perspectives on architecture, design, and art. It made the spatial and the experience of space and places a central subject and hence rehabilitated the ephemeral in the arts. Taking its numerous impacts in many fields together, it initiated a new humanism: the individual as a living person and his or her perspective are taken seriously, and this fosters the ongoing democratization of culture, in particular the possibility for everybody to participate in art and its works. (shrink)

As cable television channel bloomed and grew in Taiwan, more and more teenagers watched a wide variety of foreign TV programmers through hundreds of channels. The impact of this media trend among Taiwanese youth stresses the importance of research to assess whether local college students learn from foreign television programming. In this research, which supports the theoretical discussion in this paper, the nature of these learnings was analyzed as well. In general, this study aims to explore the relevant literature (...) and examine whether college students engage in critical thinking when viewing foreign television programs. This research used a popular Korean series shown in Taiwan to examine various perspectives and views related to the issue. Based from the gathered findings, college students appear to pay more critical attention to the program script, character, rhythm, plot and cultural differences. In relation to aesthetic, ideology and cultural identity issues, less response on the educational impact of the program was obtained from the participants. This confirms the claim that Taiwanese youth view television as an entertainment medium rather than an educational one. For this reason, the role of media education, specifically the integration of visual literacy and critical thinking, is highly significant to generate less passive television viewers. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest an Aesthetic Self Effect supporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of (...) moral changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences. Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity. Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect. Exploring the breadth of this effect we also found an Anaesthetic Self Effect. That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games. Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

Paul Klee's art found broad impact upon philosophers of varying commitments, including Hans-Georg Gadamer. Moreover, Klee himself was not only one of the most important artists of aesthetic modernism but one of its leading theoreticians, and much in his work, as in Gadamer's, originated in post-Kantian literary theory's explications of symbol and allegory. Indeed at one point in Truth and Method, Gadamer associates his project for a general "theory of hermeneutic experience" not only with Goethe's metaphysical account of the (...) symbolic but equally with a "rehabilitation" of allegory. In this paper, I examine this position and Gadamer's own use of it in his analysis of Klee's work, contrasting it with that of Walter Benjamin's account of allegory, equally indebted to Goethe and this archive. Finally, I contrast the resulting interpretations of Klee, discussing the implications that evolve for understanding both Gadamer and Benjamin— but equally for understanding Klee's work and, provisionally, the work of art, thus construed, for philosophy. (shrink)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to (...) their parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks (...) or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. -/- With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. -/- With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors. (shrink)

The pervasiveness of technology has changed the way urban everyday is structured and experienced. An understanding of the deep impact of this development on everyday experience and its foundational aesthetic components is necessary in order to determine how skills and capacities can be improved in coping with such change, as well as managing it. Urban technology solutions—how they are defined, applied and used—are changing the sphere of everyday experience for urban dwellers. Philosophical and applied approaches to urban aesthetics offer (...) perspectives on understanding technologically mediated sensory experiences within the urban realm. This chapter shows how new urban technologies act as an agent of change within the familiar urban environment. We outline how the perspective of philosophical aesthetics can be used to understand urban technologies and their role in the constitution of everyday urban lifeworlds. (shrink)

The impact of aesthetics is increasing again. For today's scholars, aesthetic theories are a significant companion and contribution in studying and ana-lysing cultural phenomena and production. Today's scene of aesthetics is more global than what it is in most disciplines, as it does not just include scholars from all over the world, but also keeps on applying philosophical traditions globally.

The Aesthetic Dimensions of Educational Administration and Leadership provides an aesthetic critique of educational administration and leadership. It demonstrates the importance of aesthetics on all aspects of the administrative and leadership world: the ways ideas and ideals are created, how their expression is conveyed, the impact they have on interpersonal relationships and the organizational environment that carries and reinforces them, and the moral boundaries or limits that can be established or exceeded. The book is divided into three sections. · (...) Section I examines various philosophical traditions in aesthetics as they inform administrative life, focussing on major modern traditions arising from Kant, romanticism and Nietzsche, Collingwood, the pragmatic school, and critical theory. · Section II explores four aesthetic sources for administrative critique - architecture, literature, film, and movement - as they serve both to understand the social construction of administration and leadership and provide a critique of values, roles, power and authority. · Section III examines more topical and applied problems of charisma, heroism, and authority in practice, concluding with a discussion of the aesthetic analysis of politics and power within the context of contemporary educational administration and leadership theory. While presenting a significant departure from conventional studies in the field, the international contributors reflect a continuity of thought on the creation, use and abuse of administrative and leadership authority from the writings of Plato through to contemporary theory. This book should appeal to school administrators and leaders and those aspiring to these roles. (shrink)

This anthology of writings addresses the producers of the very forms that are judged aesthetically - students of architecture, graphic design, interior design, fashion, and industrial design. The selections are from philosophy, art history, literary criticism, architectural practice, Renaissance scholarship, critical theory, and the cognitive neurosciences. They represent varying points of view, formats, lengths and intents. Some are complete book chapters or essays, some excerpts from writings on topics seemingly distant from aesthetic theory. All offer insights into the importance of (...) considering form relative to its aesthetic qualities and influence. Each selection is accompanied by head notes that glean the core arguments, enhance understanding, and provide a critical educational tool so anyone involved in the act of design, whether for an urban cultural space or the packaging for a cosmetic product, can be informed about the aesthetic theories that consider the relationship between form and its impact on the individual and society. (shrink)

The relationship between aesthetic value and other moral and cognitive values has been a key theme within contemporary aesthetic discussion. In this article, I explore once again the implications of this relationship, but from what I think might be a different angle. With few exceptions, notably Dominic Lopes, most of the contributions to this issue have dealt with the impact that moral or cognitive values could possibly have on the overall aesthetic value of a work of art. In this (...) article, I explore instead how aesthetic properties or merits could play a role in explaining moral and cognitive properties. To do so, I first offer some examples that I think may reasonably exemplify the phenomenon we are considering. Second, I argue that a proper account of interactionism should meet at least two constraints: the relevance constraint and the autonomy constraint. Finally, I try to clarify how it is possible that aesthetic properties substantially contribute to other values by appealing to the notions of expression and the affective character of aesthetic properties. (shrink)

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely (...) what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This three-volume set tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain and the United States in the twentieth. (shrink)

This is the first study to recognise the broad impact of opera in early-modern French culture._Downing A. Thomas considers the use of operatic spectacle and music by Louis XIV as a vehicle for absolutism; the resistance of music to the aesthetic and political agendas of the time; and the long-term development of opera in eighteenth-century humanist culture. He argues that French opera moved away from the politics of the absolute monarchy in which it originated to address Enlightenment concerns with (...) sensibility and feeling. The book combines close readings of significant seventeenth-century and eighteenth-century operatic works, circumstantial writings and theoretical works on theatre and opera, together with a measure of reception history. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth. (shrink)

The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations between its disorganized self (...) and others: its essence resides within these relations; its power of being is determined by its ability to project a unified aesthetic ideal – a ‘mirror fantasy’. The firm thus emerges as a style: where style is defined as an organizing – a sculpting – of aesthetic chaos. In order to achieve a grand style, the firm projects itself through time as a unified aesthetic ideal; as an ongoing work of art. The article concludes with a discussion of how this aesthetic theory of the firm relates to other accepted theories of the nature and purpose of business organizations. (shrink)

Abstract: For most people, mobile phones and various forms of personal information technology (PIT) have become standard equipment for everyday life. Recent theorists such as Sherry Turkle raise psychological and philosophical questions about the impact of such technologies and practices, but deeper further philosophical work is needed. This paper takes a pragmatic approach to examining the effects of PIT practices upon experience. After reviewing several main issues with technology raised by Communication theorists, the paper looks more deeply at Turkle’s (...) analysis of technology's impacts upon solitude and conversation. Because Turkle only raises but doesn’t pursue the philosophical dimensions of these issues, the work on experience of John Dewey, William James, and John J. McDermott is utilized to provide concepts and methods by which PIT’s effects might be judged. Finally, pragmatist aesthetics is introduced and consulted as a source of constructive ideals which might guide future amelioration of PIT’s more significant drawbacks. (shrink)

Aesthetics is a crucial ecosystem service provided by biodiversity, which is believed to help improve humans’ quality of life and is linked to environmental consciousness and pro-environmental behaviors. However, how aesthetic experience induced by plants/animals influences the belief in the occurrence and significance of biodiversity loss among urban residents remains understudied. Thus, the current study aimed to examine how the diversity of pets and in-house plants affect urban residents’ belief in biodiversity loss in different scenarios of aesthetic experiences (positive and (...) negative aesthetic experiences at home due to plants/animals). Using the Bayesian Mindsponge Framework (BMF) analytics on a dataset of 535 Vietnamese urban residents, we found that the people’s aesthetic feeling about their house induced by plants/animals positively affects their belief in the occurrence and significance of biodiversity loss. The diversity of plants and pets also positively influences the level of biodiversity loss belief, but the effect is conditional on the aesthetic experience of the urban residents. Specifically, the positive impact of species diversity on the belief only exists when urban residents feel that their houses’ aesthetics are negatively affected by plants/animals. Moreover, the effect of pet diversity on biodiversity loss belief is less significant and reliable than that of plant diversity. These findings suggest that raising the houses’ aesthetics through in-house planting or pet ownership can potentially enhance biodiversity loss belief and subsequently build an eco-surplus culture among urban residents. (shrink)

The book addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the nascent twentieth century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas---cultural, social, and personal---associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development (...) of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back"--Provided by publisher. (shrink)

Derogatory terms (racist, sexist, ethnic epithets) have long played various roles and achieved diverse ends in works of art. Focusing on basic aspects of an aesthetic object or work, this article examines the interpretive relation between point of view and content, asking how aesthetic contextualization shapes the impact of such terms. Can context, particularly aesthetic contexts, detach the derogatory force from powerful epithets and racist and sexist images? What would it be about aesthetic contexts that would make this possible? (...) The article puts into aesthetic contexts both Absolutist and Reclaimer views about the power of derogatory terms, applying an inferential role semantics, developed for language, to both words and images. The Reclaimer’s position, that derogation is a matter of pragmatics, of use, emphasizes the context-sensitivity of the term, that is matters who says it, to whom, when, where, and why. Understanding derogatory terms used as hate speech helps to make this position clear. The Absolutist’s position, that no contextual variations can detach the derogation from these deeply derogatory terms, is developed here through attention to subordinating images in pornography. The article argues that art may be able to achieve the deviant interpretations that the Reclaimer needs to undermine the derogations while maintaining sensitivity and awareness of the history of oppression. (shrink)

This chapter talks about the power of music, how characters in South Park use it in telling stories, and how music conveys ideas in the context of Western philosophy. But South Park does raise questions about music that philosophers— particularly Plato—have dealt with again and again. Despite their flaws, these Greek thinkers' views were instrumental to asking questions about music's impact (often referred to as ethos), its mathematical properties in relation to the universe, and how these two aspects interact (...) with one another. Phil Collins and Asia may not survive history's merciless aesthetic filter, just as the aulos instrument vanished long ago, but where the underlying philosophy is concerned, the issues are timeless. (shrink)

En la actualidad se habla de la anomalía dentomaxilofacial como una enfermedad inherente a la civilización, cuya prevalencia varia en las distintas partes del mundo, el alto índice se relaciona a la heterogeneidad genética. Estas anomalías tienen una etiología multifactorial donde intervienen diversos factores internos o externos, que provocan variabilidad en su forma de presentación; cada una tiene características muy particulares y diversos grados de complejidad a la hora de ser tratadas, sin embargo poseen un aspecto común, afectan por lo (...) general la estética y la psiquis de los pacientes que las padecen. Con el objetivo de determinar afectaciones psicológicas en niños y adolescentes con anomalías dentomaxilofaciales se realizó un estudio no experimental descriptivo transversal. Se ejecutó en dos etapas y se emplearon métodos empíricos la recolección de la información a través de interrogatorio y examen clínico, incluido el Test Auto reporte vivencial para determinar la afectación psicológica del niño o adolescente. Se evidenció que los adolescentes resultaron ser afectados psicológicamente en presencia de anomalías de origen dentario. Presently, while prevalence varies in different parts of the world, dentomaxillofacial anomaly is regarded as a disease of our civilization. Its high rate is related to genetic heterogeneity. These anomalies have a multifactorial etiology since various internal or external factors that cause variability in its presentation are involved. Each of these anomalies has unique characteristics and varying degrees of complexity when being treated. However, they have a common feature: they usually affect the aesthetics and psyche of patients who suffer from them. In order to determine the psychological effects of dentomaxillofacial anomalies in children and adolescents, a non-experimental, descriptive, cross-sectional study was conducted. It was carried out in two stages and empirical methods were used for collecting information through interview and clinical examination, including Experiential Self-Report to determine the psychological effects in the child or adolescent. Through this study, adolescents were found to be affected psychologically in the presence of anomalies of dental origin. (shrink)

In response to the mental health crisis in science, and amid concerns about the detrimental effects of the COVID-19 pandemic on scientists, this study seeks to identify the role of a heretofore under-researched factor for flourishing and eudaimonia: aesthetic experiences in scientific work. The main research question that this study addresses is: To what extent is the frequency of encountering aesthetics in terms of beauty, awe, and wonder in scientific work associated with greater well-being among scientists? Based on a large-scale (...) and representative international survey of scientists in four countries, this study employs sets of nested regressions to model the associations of aesthetic experiences with flourishing while controlling for demographic factors and negative workplace and life circumstances such as burnout, job/publication pressure, mistreatment, COVID-19 impacts, other stressful life events, serious psychological distress, and chronic health conditions. The results show that the frequency of aesthetic experiences in scientific work in the disciplines of biology and physics has a very large and statistically significant association with flourishing and eudaimonia that remains robust even when controlling for demographic factors and negative workplace and life circumstances, including COVID-19 impacts. Aesthetic experiences in scientific work are even as strongly associated with flourishing as the presence of serious psychological distress and are most strongly associated with the flourishing domain of meaning in life, thus pointing to a link with eudaimonic well-being. In line with neurophysiological evidence and positive psychological models of flow, self-transcendence, and intrinsic motivation, aesthetics are a key source of flourishing for scientists in the disciplines of biology and physics. While future research needs to test the causal mechanism, the strength of the findings could encourage leaders of scientific labs and research organizations generally to remove obstacles to experiencing the aesthetic dimensions of science. Fostering cultures in which the aesthetic experiences that are intrinsic to scientific practice are fully appreciated might potentially protect or boost flourishing by reducing the impacts of burnout, job/publication pressure, and mistreatment-related experiences in science. (shrink)

We propose a theatrical Aesthetics of liberation understood as one that articulates imaginary, visual, or textual bridges between the opening to the context-world and its impact on subjectivity and that gives rise to a scenic production favorable to the conservation and improvement of life that raises opposition or rejection of those contexts that are not conducive to it. We will observe the productions of the theatrical scene in three moments of the recent Argentine past to visualize both the resistance (...) and denunciation of the decrease or disappearance of rights and the rejection of the necessary control of bodies and actions to impose the liberal/neoliberal model. We will look into scenes produced during the Argentine Revolution, stagings of the end of the 20th century responding to the exacerbation of neoliberalism, and finally, those produced during the last neoliberal restoration. (shrink)

Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, (...) it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time and expertise, two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception ]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects, however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment. (shrink)

The rapid acceleration of societal change has subjected contemporary individuals to prolonged periods of diverse pressures, leading to substantial psychological strain, resulting in anxiety, depression, and compromised mental well-being. Within this context, the home has evolved into a vital refuge for modern individuals, offering both physical and psychological respite. Through experimental intervention, this study examines two distinct residential groups: those adhering to traditional housing and those residing in characteristic folk houses, specifically Gannan Hakka architecture. Analysing the psychological state of contemporary (...) individuals and integrating Gannan Hakka architectural elements into folk house design through a psychologically informed approach, this research aims to enhance residents’ aesthetic experiences and alleviate psychological distress. The study involved 120 volunteers with varying psychological stress levels, categorised into characteristic and traditional folk house groups. Psychological assessments evaluated stress, self-efficacy, and quality of life. Findings reveal significantly improved psychological well-being, self-efficacy, and quality of life among the characteristic residential group, affirming the benefits of Gannan Hakka architecture integration. This research underscores the importance of addressing modern individuals’ environmental needs and proposes the integration of Gannan Hakka cultural elements into residential design to enhance well-being. Contribution: This study demonstrates the application of Hakka culture in contemporary housing profoundly influences residents’ lives, enabling both relaxation and a deeper cultural connection. This integration facilitates a comprehensive understanding of Hakka culture, promoting its preservation. Notably recognised for hospitality and diligence, Hakka culture enhances individuals’ appreciation of tradition, fostering physical and mental rejuvenation. These findings offer valuable insights for practical theology scholars and practitioners exploring the impact of religious aspects on modern residential design from a psychological perspective. (shrink)

The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations between its disorganized self (...) and others: its essence resides within these relations; its power of being is determined by its ability to project a unified aesthetic ideal – a ‘mirror fantasy’. The firm thus emerges as a style: where style is defined as an organizing – a sculpting – of aesthetic chaos. In order to achieve a grand style, the firm projects itself through time as a unified aesthetic ideal; as an ongoing work of art. The article concludes with a discussion of how this aesthetic theory of the firm relates to other accepted theories of the nature and purpose of business organizations. (shrink)

The academic databases such as Scopus or Web of Science are commonly used to measure performance of universities, departments, and even single researchers. However, to what extent such databases can represent real outcomes of aforementioned units especially in the field of art and humanities where local languages and cultural phenomena play an important role is not clear. This article focuses on understanding how research in this field, as seen through the case of aesthetics in non-English speaking countries, Finland in particular, (...) is represented through major academic databases. This question is tackled by applying a data mining approach. First, we identify major academic databases, and afterwards test what is the proportion of Finnish aesthetics presented in those databases. Our approach allows us to critically look into representation of local art or humanities related research in general academic databases, and understand to what extent we can trust those sources in representing real pictures of the field. Results strengthen the well-known fact that most common academic databases draw a rather poor picture. In more particular this article shows that there are certain factors that influence analysis of the field: spread data, multilingual content, non-standard categorization, variability of venues, different publishing patterns, and unsuitable impact metrics. However, our results propose that alternative databases can be formed from university or meta-data databases. We also provide further directions for designing of such databases. (shrink)

Are things ugly or are they just not beautiful? The answer to this and many other questions can be found in this encyclopedia, the first large-scale comprehensive English-language reference on aesthetics and destined to be a classic in the field. Drawing from experts in the areas of philosophy, art, history, psychology, feminist theory, legal theory, and many more, the encyclopedia presents 600 signed essays alphabetically arranged. Most entries include a headnote clarifying the topic. Entries range from the philosophical essay on (...) ugliness, to the more reality-based article on the impact of AIDS on the arts. Comprehensive coverage includes key figures, concepts, periods, theories, and movements in the history of aesthetics."--"Outstanding Reference Sources: the 1999 Selection of New Titles", American Libraries, May 1999. Comp. by the Reference Sources Committee, RUSA, ALA. (shrink)

The article is devoted to identifying the value of the phenomenon of aesthetic value and beauty of mathematical knowledge and the beauty of mathematical theory of teaching mathematics. The aesthetic potential of mathematical knowledge allows the use of theater technology in the educational process with the active dialogic interaction between teacher and students. The criteria of beauty in mathematical theories are distinguished: the realization of beauty as the unity of the whole, and in the disclosure of the complex through the (...) elementary; methodological interpretation of the beauty in the community of mathematical structures and optimal information content of the meta-language of mathematics; the practical embodiment of beauty in the formalization of the infinite through the finite. The beauty of mathematics is the force that permeates all the ‘layers of knowledge‘ not along, and across, although the effectiveness of mathematical activity due to aesthetic laws, which do not always lend themselves to unambiguous interpretation. In the article it is stated that, depending on the educational goals of communicative impact on the audience, in fact, ‘mathematical lectures theatricality‘ can have different characteristics, the most important of which are teachers artistry and artistic director’s work of a teacher. This cultural phenomenon that includes the theatrical talent, helps create an atmosphere of cooperation needed in varying degrees of activity for pedagogical interaction. The author believes that such approach, developed on the basis of the Stanislavsky system, allows university professors of mathematics significantly improve mathematical lectures. (shrink)

This paper aims to critically analyze one of the most impactful events reported from the Indian corporate scenario in recent years, from the premise of its aesthetic underpinnings. Our focus is on the ambitious 2008 all cash cross-border acquisition of Jaguar and Land Rover businesses by Tata Motors Limited from Ford Motor Company, US. This move not only added stature to the already reputed brand but was also instrumental in positioning India in the global automotive arena. Using the Natyasastra, an (...) ancient Sanskrit scripture on Indian dramaturgy, as an aesthetic tool, we attempt to unravel the emotional performance depicted by various stakeholders partaking in the theatrics of the Jaguar Land Rover acquisition event. In the backdrop of theatrical performance, we examine the dialogical exchange between three distinct sets of actors, the firm, media, and equity market, to identify and elucidate the emotions they predominantly depict in the Jaguar Land Rover acquisition. This paper’s over-arching goal is to shift the preoccupation with metrics of organizational performance to focus instead on the emotional performance manifested through organizational activities, using an aesthetic and essentially Indian performative perspective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely (...) what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This three-volume set tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain and the United States in the twentieth. (shrink)

This research focuses on a particular type of “aesthetic consumption” that meets the needs of consumers and entrepreneurs who are aware of the negativeconsequences of purchasing behaviors. Aesthetic consumption offsets perceived undesirable impacts by infusing social values into purchase decisions and business models. A framework is introduced that describes the response to this type of consumption by aesthetic consumers and “aesthetic entrepreneurs.” The discussion supports future research on factors supporting aesthetic consumption and on how aesthetic consumption differs from other purchasing (...) behavior in a world that is increasingly concerned about sustainability. (shrink)